Fiction

If you have not yet gone on holiday, do pack The Anatomy of Ghosts. It is excellent airport reading; and this is no trivial recommendation. Airports are where one needs fiction most desperately — and nowhere more so than in Kabul, where I had to work through no fewer than seven queues for incompetent security checks, inching up a modern version of Purgatory. Even in these testing conditions, Andrew Taylor’s book beguiled. The Anatomy of Ghosts is, like Taylor’s best-known previous novel, The American Boy, historical crime fiction. In a further refinement of genres, it is a historical campus murder mystery, being set in Cambridge in 1765, in a fictional

D. B. C. Pierre’s Vernon God Little was an unusual Man Booker winner (2003). D. B. C. Pierre’s Vernon God Little was an unusual Man Booker winner (2003). Not only was it brilliant, it was also a first novel, and apparently by an American. Holden Caulfield was invoked, and Liam McIlvanney called it ‘the most vital slice of American vernacular since Huck Finn’. It turned out, though, to have been written by a Brit, ‘on the floor of a box-room in Balham’. D. B. C. Pierre is the nom de plume of Peter Finlay, an evolved childhood nickname — ‘Dirty But Clean’, which is evidently his motto as a writer.

Tim Waterstone is the man who set up the bookshop chain in 1982, so you might expect him to have read a few books, and be OK at writing them. In fact, he’s more a businessman than a writer. He began life as a broker in Calcutta, before becoming marketing manager for Allied Breweries and W. H. Smith. But it turns out that Waterstone is rather a skilled thriller writer; his publicity people are doing him a disservice in their promotional literature by comparing him to Jeffrey Archer (the novel’s gallumphing Archeresque title apart). He has wisely chosen two worlds he knows about to set his thriller in — business

‘C’ is for Caul, Chute, Crash and Call, the titles of the four sections of Tom McCarthy’s new novel; for Serge Carrefax, its protagonist; and for, among other things, coordinates, communication technology, crypts, cryptography, Ceres, carbon, cocaine and Cartesian space, motifs that trellis this book. ‘C’ is for Caul, Chute, Crash and Call, the titles of the four sections of Tom McCarthy’s new novel; for Serge Carrefax, its protagonist; and for, among other things, coordinates, communication technology, crypts, cryptography, Ceres, carbon, cocaine and Cartesian space, motifs that trellis this book. Serge is born at the end of the 19th century on a comfortable country estate to a mother who manufactures

Thriller writers, like wolves and old Etonians, hunt in packs. In the summer months, roaming from city to city, we can be found at assorted festivals and crime fiction conventions, gathered on panels to discuss the pressing literary issues of the day: ‘Ballistics in the Fiction of Andy McNab’, for example, or ‘The Future of the Spy Novel in the Age of Osama bin Laden’. The high tide of these get-togethers is the Theakstons Old Peculier Crime Writing Festival, which takes place every July, over four days, in Harrogate. This year, the guest of honour was Jeffery Deaver, recognised across the pond as one of America’s pre-eminent thriller writers. To

Though Lydia Davis probably first came to the attention of English readers through her translations, she has been making a substantial reputation for herself in America with sharp, inventive and demanding short stories. Her field is awkwardness, social ‘leakage’, as sociologists say, and the often bad fit between acts and speech, language and meaning. There is a certain delectable inappropriateness in the fact that some readers (like me) will first have encountered her as one of the translators of Penguin’s 2002 Proust. She did an accurate job, but as a writer herself she could not be much further from that great but voluble and frequently casual writer (your punctuation, Marcel,

Memory Lane always looked so unthreatening to me. But this is Bret Easton Ellis, so a cast reunion for the characters he first wrote about in Less Than Zero 25 years ago is bound to end in tears, screaming and blood. And so it does, with grim efficiency. No sooner has our protagonist, Clay, checked back into his Hollywood apartment complex, than he is plunged feet-first into a swamp of paranoia, sin and violent double-cross. As the doorman says to him on his return, ‘Welcome back.’ So what’s Clay been up to all these years? Becoming a screenwriter would be the literalist’s answer, but drifting further into Easton Ellis’s subconscious

Robert Coover’s Noir is a graphic novel. Robert Coover’s Noir is a graphic novel. Not literally, in the contemporary sense in which the phrase is used to designate a highfalutin words-plus-pictures album; but figuratively, in that its language cannot help but be converted, in the reader’s inner eye, into a series of monochromatic images, images suggestive less of a film than of, precisely, the layout of some neo-noir comic-strip. Frank Miller’s Sin City, for instance. Like Miller, Coover pulverises the film noir aesthetic to a hallucinatory essence. In a conceit subsequent pasticheurs will find it hard to improve on, he actually has the nerve to name his private eye Philip