This collection of stories is so assured, and delivered with such aplomb, that it’s hard to believe it’s a debut – and, as it turns out, that’s because it isn’t. Although Elsewhere is Yan Ge’s first book written in English, she is a seasoned novelist in China, where she has been publishing fiction for more
In the world of books, a modern classic is an altogether more slippery thing than a classic: it must walk a line between freshness and durability; reflect the current age but hope to outlast it. For individual publishers, given many 20th-century writers are still in copyright, a modern classics list will necessarily be partial. However,
Sam Riviere has established himself as a seriously good poet who doesn’t take himself too seriously: his first collection, 81 Austerities, opened with an account of how he blew all the arts funding money awarded him, and his second, Kim Kardashian’s Marriage, is the only appearance of that august celebrity’s name in the distinguished Faber
Despite innovative work by younger writers, there remains a prominent strain in Irish literature of what we might call the ‘sad but nice’: tales of desperation elegantly unfolded, popularised by William Trevor and John McGahern and refined by Colm Tóibín and Mary Costello. A newcomer in this lane is Billy O’Callaghan, whose previous books have
Publishers everywhere are looking for the new Sally Rooney, which is odd since as far as I know the old one is still around. As a result Ireland, which has never lacked literary talent, is giving us a lot of debut novels by young female writers this year. True, being the new Sally Rooney makes
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
‘James Scudamore is now a force in the English novel,’ says Hilary Mantel on the cover of English Monsters, which, given that it’s his fourth book, has the whiff of a backhanded compliment (‘Have you lost weight?’). But despite its less exotic setting than his earlier novels, there is a reach and scope here that
There’s something — isn’t there? — of the literary also-ran about Graham Swift. He was on Granta’s first, influential Best of Young British Novelists list in 1983, and he won the Booker Prize in 1996, but he has never attained the public-face status of his contemporaries. That may not be so surprising, given who those
The Hungarian writer László Krasznahorkai, who sounds like a sneeze and reads like a fever, is on a mission to build our collective stamina. His novels have always resisted easy interpretation, with their page-long sentences and catastrophic air, and in his ‘most popular’ book, Satantango, the clanging language and doomy setting worked to great effect.
Sarah Hall should probably stop publishing short stories for a while to give other writers a chance. If she’s not the best short story writer in Britain, then — but why even finish that sentence? Her novels are good, but it’s in the short form that she excels, with strange, unsettling tales that have made
There’s no getting away from that title. I will never see the world again. It catches your eye on the bookshelf. I will never see the world again. It’s there, at the top of every page. I Will Never See the World Again. It’s a killer opening, before the book has even begun, and it’s
In 1956, after Penguin Classics had published 60 titles, the editor-in-chief of Penguin Books, William Emrys Williams, wondered: ‘How many more titles in the classical literature of the world are there?’ As a case study in heroic shortsightedness, this measures up to Bobby Charlton’s question to his brother Jack after England’s World Cup victory in
The first thing to say about Claudio Magris’s new novel is that it is, in an important sense, unreadable. There is no possibility of turning page after page engaged in finding out what comes next, of being lost in the characters’ stories. The usual pleasures of fiction are so thoroughly absent that the reader emerges
