Fiction

There aren’t many authors as generous to their readers as David Mitchell. Ever since Ghostwritten in 1999, he’s specialised in big novels bursting with storytelling in all kinds of genres — most famously Cloud Atlas, where six very different novellas were immaculately intertwined. Not only that but, as he’s said, ‘each of my books is one chapter in a sort of sprawling macro-novel’, with many of the same characters and events being either updated or given fuller backstories. At its best, this generosity has resulted in some of the most lavishly satisfying fiction of recent times. Occasionally, though, it can feel rather like the type shown by Mrs Doyle in

Disaster tourism allows people to explore places in the aftermath of natural and man-made disasters. Sites of massacres and concentration camps can be visited; tours operate around Chernobyl, Centralia — the city in America that is perpetually on fire — Aleppo and Fukushima. Tourists can ‘experience’ what it is like to live in a war zone, in extreme poverty or a place emptied by nuclear fallout, and then return to the safety of their homes. In Yun Ko-Eun’s The Disaster Tourist, translated from the Korean by Lizzie Buehler, the protagonist Yoona works for Jungle, a Korean disaster tourism travel company. She returns to Seoul after visiting an earthquake-hit region of

A decade ago — eheu fugaces labuntur anni — Stuart Evers’s debut story collection, Ten Stories About Smoking, was one of the first books I ever reviewed, and I’ve kept tabs on his career ever since, in that spirit of comradely competitiveness one feels for a writer of a similar age launching at the same time. I spoke warmly of his first novel If This Is Home and enjoyed his second collection, Your Father Sends His Love, when it appeared in 2015. But there was nothing in those earlier works to prepare me for the scale and ambition of The Blind Light. This extraordinary novel about Britain and Britishness spans

Matthew Kneale is much drawn to people of the past. In his award-winning English Passengers, he captured the sensibilities of a group of 19th-century seafarers bound for Tasmania in search of the Garden of Eden by chronicling their voyage in 21 singular, vibrant voices, and by weaving into their journey a heavy thread of racist and colonial endeavour. In his latest book, he returns to these themes of voyage and discovery, adventure and prejudice with his band of 13th-century pilgrims who have assembled in England as a ‘proper party’ in order to travel to Rome — without, they hope, being ‘stabbed or robbed or cudgelled to death along the road’.

In her 2010 novel So Much for That, Lionel Shriver examined the American healthcare system with a spiky sensitivity. Big Brother (2013) took on American obesity, and The Mandibles (2016) thoroughly imagined a doomsday economy. Shriver’s latest book, The Motion of the Body Through Space, casts the same keen eye over the ‘fetishising of fitness’. Serenata Terpsichore, a voiceover artist in her early sixties living in New York State, has been a compulsive exerciser all her life. When her knees give out, she is deprived not only of an outlet and a private routine but part of her identity. It is at this moment her formerly sedentary husband Remington Alabaster,

Twins are literary dynamite. For writers, they’re perfect for thrashing out notions of free will, the pinballing of cause and effect and fate’s arbitrariness. One twin reflects the other, darkly: living proof of the road not taken, the life not lived. In Maryse Condé’s The Wondrous and Tragic Life of Ivan and Ivana this point is rather laboured — literally, as we first meet the titular pair when they are dragged from the ‘warm and tranquil abode’ of their mother’s womb. They emerge bawling into contemporary Guadeloupe, where their mother Simone ‘works herself to the bone in the sugarcane fields’. Things don’t improve much when they seek their fortunes abroad,

Question: which American president and first lady would you care to imagine having intercourse? If that provokes a shudder, be assured that the sex scenes between Yale law students Hillary Rodham and Bill Clinton in Curtis Sittenfeld’s latest novel are cringe-free — even the one involving manual stimulation that takes place in a moving car. They’re young, they’re in love, it’s adorable. For Hillary, who has ruefully accepted that a fierce intellect is a drawback when it comes to dating, the leonine charmer from Arkansas is a gift dropped from heaven. Until he isn’t. A stumbling first paragraph sounds a warning about the limitations and non-literary quality of Hillary’s first-person

On the way back from my daily dawn march in the park, I often pass my neighbour, a distinguished gentleman in his late eighties, taking the air on his doorstep. I stand behind the area railings and shout: ‘How are you?’ And he shouts back: ‘Bored!’ At least not lonely. His sixtysomething son is with him. But how solitary these lockdown weeks have been for the widow and the widower, the singleton and the bachelor. Leaf Arbuthnot, a freelance journalist, could not have picked an apter time to publish her first novel Looking for Eliza, a redemptive story about grief, isolation and why everybody needs good neighbours. Its 75-year-old heroine

It needs authorial guts to write a novel in which details are shrouded, meaning is concealed and little is certain. Step up Catherine Lacey, and welcome. Her previous novels specialised in confounding the reader, taking the frames of road trip and science fiction and giving them a good yank. Now she’s gone full religious allegory on us: or has she? ‘Pew’ is the name the villagers in her novel give to a stranger they find sleeping on a pew in the local church. Lacey’s character offers no name, no story, no age or gender (so let’s use the pronoun they; though I admit I kept thinking of Pew as male,

This novella is suited to our fevered times. Scheduled to coincide with the Swindon spring festival of literature, now cancelled, it reflects the way we are now living. Inspired by the collective imagination of a Swindon book group, Alice Jolly has written a prophetic story. The narrator is Janey, married to the older Phil and running Hunter’s Grove, a B&B in the Swindon suburbs. Phil is an impediment: ‘Retirement — twice as much husband and half as much money.’ Tuesday afternoons mean tea and sex with Len the builder — ‘Tea with Len, Cider with Rosie, what’s the difference?’ Other than that, Janey is visited by her girl friends, among

In Henry and June, Anaïs Nin asks her cousin Eduardo if one can be freed of a desire by experiencing it. ‘No,’ he says. ‘The life of freed instincts is composed of layers. The first layer leads to the second, the second to the third and so on. It leads ultimately to abnormal pleasures.’ A hunger sated only uncovers a darker, more rapacious need. There is no endpoint to desire, no fulfilment that can snuff it out entirely. The protagonist of Cleanness, a novel in the form of connected short stories, is an American teacher living in Bulgaria who will be familiar to readers of Garth Greenwell’s much lauded 2016

We often hear that science fiction — or ‘speculative’ fiction, as the buffs prefer — can draw premonitory outlines of the shape of things to come. Well, consider the case of this novel by an acclaimed Argentinian-born, Berlin-based writer, first published in Spanish last year. Little Eyes imagines a gadget (nothing fancy really, just a plush animal toy with camera and wifi implants) that creates a private but silent connection between its owner anda single, remote watcher. The ‘keeper’, who buys the $279 electronic pet known as a kentuki, doesn’t know the identity of the ‘dweller’, who pays to observe another life from afar and who can move the felt-covered

NVK, which is the IATA (International Air Transport Association) code for Narvik’s old airport, is in this instance Naemi Vieno Kuusela, a Finnish femme fatale whom we first meet in this novel in North Karelia in 1579 and later in the company of Zhang Guo Xing, a wealthy Chinese businessman, in a Shanghai nightclub in 2012. This surely offers a clue about her. But, as she says on page 118: You think you know what I am. You have no idea. I’m not in any of your books. You try to catch me. Your hands grasp empty air. I’m not a story you can tell. That doesn’t sound like a