Keith Ridgway’s seventh book is a sultry, steamy shock of a novel, not least because nine years ago, despite the critical success of Hawthorn & Child, he retired from writing, telling his publishers he was done with making up stories. He also stopped reading — although only for a year, lured back by the likes of Muriel Spark and Georges Simenon’s Maigret series.
Reading made him want to write again. The result is A Shock, a provocative collection of nine interlinked stories, jostled together like neighbours on a London street or regulars in a pub, which is where most of his characters cross paths. The composite form, popular with the likes of Polly Samson, Jennifer Egan and David Szalay, creates something stronger than its parts.This is not a short story collection.
Set during a sticky summer in south London, A Shock dips into the lives of people you might encounter in ‘Cannibal and Feckham’ without giving them a second thought.
Get Britain's best politics newsletters
Register to get The Spectator's insight and opinion straight to your inbox. You can then read two free articles each week.
Already a subscriber? Log in
Comments
Join the debate for just $5 for 3 months
Be part of the conversation with other Spectator readers by getting your first three months for $5.
UNLOCK ACCESS Just $5 for 3 monthsAlready a subscriber? Log in