Women

There’s an attraction, certainly, in joining a cult. Not a Sheryl Sandberg working women type cult but a good old fashioned we’re all in it together wearing hemp skirts type cult. No need to chivvy the nanny, check the Blackberry or prepare for 8am meetings. Simply pack the children off to daycare (the yard) and hoe some vegetables. That’s pretty much it for the day – apart from some worship and chatting to close female friends – until it’s time for hallucinogenic weeds and sex with a man who says he loves you. Amity & Sorrow, the debut novel for new imprint Tinder Press by Peggy Riley, explores the appeal

To my Excellent Lucasia , on our Friendship. I did not live until this time Crowned my felicity – When I could say without a crime I am not thine, but thee. This carcass breathed, and walked, and slept, So that the world believed There was a soul the motions kept; But they were all deceived. For as a watch by art is wound To motion, such was mine: But never had Orinda found A soul till she found thine Which now inspires, cures and supplies, And guides my darkened breast: For thou art all that I can prize, My joy, my life, my rest. No bridegroom’s nor crown-conqueror’s mirth

No one could ever accuse Shereen El Feki of lacking in courage. To spend five years travelling around the Arab world in search of dildos, questioning women about foreplay and anal sex, is not a task many writers would relish. Sex and the Citadel is a bold, meticulously researched mini Kinsey Report, rich in anecdote and statistics. El Feki’s father is Egyptian and a devout Muslim, her mother a Welsh Baptist, who converted early to Islam. An only child, with fair northern features, she grew up in Canada and was raised as a Muslim. Having done a doctorate in molecular immunology and served as a member of the UN Global

There is a Persian proverb which states that ‘books are a man’s best friend.’ Persian literature from the kings of antiquity to the last Shah of the Peacock Throne has, for the most part, been dominated by its proverbial male companion. When presented with today’s Islamic Republic, an unfamiliar Western reader can easily believe that a female literary voice cannot possibly exist underneath the seemingly anonymising chador, the Islamic female dress most closely associated with Iran. Instead, all that would appear to emanate from Iran is a male voice: Ahmadinejad defending arms programs; the Mullahs dictating morality; Khomeini, father of the nation, ever-present from beyond the grave, still influencing the

Among the new words which entered the English Dictionary last year was ‘overshare’, def: ‘to reveal an inappropriate amount of detail about one’s personal life’. If that detail pertains to common experience, though, is it inappropriate to share it, or just unnecessary? Unmastered, I think, will divide on that question. It will divide readers, in fact, quite generally. It presents itself as something more than a book, as a corporeal embodiment of an experience that, while common to most, is presented as peculiarly the author’s own. Katherine Angel essentially seeks to re-create in book form the sex she shared with a lover (‘The Man’). In it, she also discusses the

‘This man makes a pseudonym and crawls behind it like a worm,’ wrote Sylvia Plath in The Fearful. The weekend’s literary pages were gripped by a story of pseudonyms. R.J. Ellory, the well-regarded and critically acclaimed crime writer, has been caught penning rave reviews of his own work, and damning that of his rivals, under various pseudonyms on Amazon. Ellory ‘wholeheartedly’ regrets the ‘lapse of judgment’. The story recalls Orlando Figes’s dishonesty with Amazon reviews. Now as then, I’m at loss to understand why someone of Ellory’s reputation felt compelled to dive to this kind of petty chicanery. The additional sales garnered by positive Amazon reviews must only be a

Few could accuse literary fiction of not doing its best to perk up the US export sector recently. It has been a truly remarkable year. A quick glance at my shelves reveals some wonderful new finds: The Art of Fielding by Chad Harbach, We the Animals by Justin Torres, Seating Arrangements by Maggie Shipstead and recently Leaving the Atocha Station by Ben Lerner. Joining them this summer – although a second novel rather than a debut like the above – is Nell Freudenberger’s The Newlyweds. Exactly like the others, however, The Newlyweds comes already wreathed with praise from across the pond. And well deserved too. To my mind it draws parallels with