Philip Womack is a writer, an ex-private tutor and a parent.
There has been much debate recently about what exactly constitutes ‘literary’ fiction. If the term means beguiling, gorgeously crafted novels that are assured of their place alongside other writers, reacting to, and taking pleasure in discussing them; that are aware of the world’s events and their impact on humanity; that have delicately drawn characters; and
Adam Thorpe’s latest novel, Missing Fay, examines the lives of a disparate group of people in Lincolnshire, all touched in some way by the disappearance of the titular Fay, a sparky, gobby 14-year-old girl from a council estate. This is an England of motorways, dull campsites, immigrants and nursing homes: where transience is the norm,
The Wake, Paul Kingsnorth’s Booker-longlisted debut novel, was set just after the Norman Conquest, and was told in an odd hybrid of pseudo-Anglo-Saxon and modern English. Its narrator, Buccmaster of Holland, being displaced by the incoming Frenchies, gathered a group of fighters to resist, holding them together by the strength of his personality. But something
I read this, Meg Rosoff’s first novel for adults (though her previous fiction, aimed at teenagers, is widely enjoyed by older readers), curled up with my beautiful lurcher, Una, twitching her ears beside me. Appropriately so, as the novel concerns the relationship between a young man and two dogs, super-intelligent collie Dante and devoted spaniel
Reading Daisy Dunn’s ambitious first book, a biography of the salty (in more ways than one) Roman poet Catullus, it struck me how lucky we are: only one copy of his collection of poems survived the ages, hidden under a bushel in Verona. Catullus might have gone the way of his contemporaries, such as Cinna,
Allan Mallinson’s historical series concerning Matthew Hervey, the well-bred, thoughtful soldier, details a world where men are practical and not too clever; where the only sensible vote is Tory; where Moors make ‘uncommonly good cymbalists’. Everything gleams, buffed up to a shining surface: it is a fantasy of empire and glory. Two thirds of the
Which of us, as an adolescent, did not experience at some point a terrible sense of not belonging? Which of us did not yearn for a door to open into a place entirely elsewhere? At that liminal time in our lives, we constantly search for new thresholds, over which we might find ourselves — or
A favourite game of mine is to imagine Virgil and Homer today, plying their trade among the supermarkets and office blocks. What would they sing? Can modern life aspire to the epic, and can such a form still be understandable, even useful? C.S. Lewis, though he did translate the Aeneid beautifully, didn’t quite manage a
Tessa Hadley’s previous book, The London Train, was one of the best novels of last year, though overlooked by prize committees. It concerned the gently disentangling lives of a pair of middle-class couples, and found its strengths in numinous revelations of the everyday. These short stories (all previously printed in magazines such as Granta and
I really wanted to like this book. After the dire Eragon, which has now been made into a worse film, and this year’s The Meaning of Night, with its coy Victorianisms and pointless footnotes, I was longing for a ‘fantasy’ that would enchant and amuse in delicious detail. And somewhere, in the 750-odd pages of
I had a succession of brilliantly eccentric Classics teachers. Father Hunnwycke, a kindly and acerbic priest, showed his hatred of school inspections by holding up a German book called Group Sex in Ancient Rome every time the inspector’s dreary head was bowed. Another, a small, military Scottish man, would, after berating my misuse of the
Susanna Clarke taps enchantingly into a vein of folkloric gold. She presents our world as existing in tandem with ‘Faerie’, but without butterfly-winged Victoriana. Instead she creates a sense of danger, as if the Faeries in question are the displaced gods of Robert Graves’ The White Goddess, still retaining elements of frightful power over mankind.
This is a loosely connected series of tales which make up an intriguing, sometimes frustrating and occasionally both compelling and hilarious collection of ‘snatches’ from a bizarre alternative world history, which proclaims that there is no such thing as fiction, and that we are always one step away from destruction. Trotsky’s ghost, a cannibalistic contessa