It’s a familiar paradox: in order to save herself, the writer needs to get away from her family; and yet when she sits down to write, the lost world of family is her best material – all those...
The Aeneid is not all about male virtues and egos. The overall plot depends on the wrath of the goddess Juno, and room is also made for the quieter voices of aged fathers, local rustic deities and Italian...
Patricia Highsmith was able to dramatise the loss of control so shockingly because she knew how it felt. Though not herself a homicidal maniac (as far as one knows), she could imagine what it...
Agustín Fernández Mallo, then a Spanish physicist with one book of poetry to his name, was on holiday from his laboratory in 2004 when he was hit by a motorbike in Thailand....
Lila and Lenù. She and I. These friendships – these first, these formative friendships – are in part about adapting ourselves to our place in adult society. There is always one child...
Kindred is an act of generosity, an embodiment of the hope that one day, it will be nothing to write home about when a Black woman sits in her new house with her white husband, happily surrounded by piles...
Stone’s dozen days in Saigon were all passed in the shadow of the war. Everybody was in it, somehow, and talked about it non-stop, but the talk never went anywhere. It ran into the war and came...
In 1993, frustrated and unfulfilled, Emmanuel Carrère was waiting on two replies – one from Satan, the other from God. He was 35, with four novels behind him but not enough fame for...
The narrator of Denis Johnson’s The Largesse of the Sea Maiden concludes his account of dead or dying friends with a careless aside: ‘It doesn’t matter. The world keeps turning....
It’s never easy to sort out what’s yours and what’s your mother’s – harder still, Yaa Gyasi’s book suggests, when the fear of enmeshment is shared. Armed with diagnostic...
Rilke set himself subjects the way a shoemaker might, or a sculptor. Laocoön. The burghers of Calais. The thinker. The lovers. The tiny figurines and vast hands.
Death in Her Hands, like all Ottessa Moshfegh’s novels, is a mystery, as well as a portrait of a broken mind. But it’s also a hall of mirrors in which every image or event might be real, or...
Sophie Mackintosh’s two novels could be classified as dystopias but they are more like hermetically sealed thought experiments. The worlds they describe are different from the one we wake up in,...
Ursula Le Guin was able to direct a whole array of ‘what if?’ questions against the conventions of children’s fantasy. What if you don’t need heroic quests? What if keeping...
John Carey has always been alive to what he once called ‘the strengths of the unliterary’, the salutary effect that a principled suspicion of the aesthetic may have on the actual practice...
Do the Irish have a unique way of handling death? I don’t know, but I can tell you how my family does it. We circle through dark humour, pass around food and drink, pivot to banalities,...
Dickens fought long and hard against the human tendency to focus exclusively on what is of immediate pressing concern in any given situation. His often anodyne protagonists have to compete for our attention...
A ‘true ghost story’, except to a believer, moves between the worlds of fact and fiction, but Alma Fielding’s poltergeist is more disturbing. It inhabits a place of constant dissolution...