Family relations

Valeria Luiselli’s previous novel Lost Children Archive (2019) was a formally inventive, highly erudite reworking of the American family road trip, a bravura performance that won both the Dublin Literature Prize and the Rathbones Folio Prize. Her follow up, Beginning Middle End, is a formally inventive, highly erudite reworking of a European family road trip. The framework might be the same – even down to the inclusion of Polaroid pictures – but this is far from a pale retread of earlier themes. It is a visionary portrait of three generations of women, as well as the times in which we find ourselves. Mother and Daughter have escaped New York and are housesitting for the Pianist in Sicily.

At first glance, Tie Ning’s The Passage of Roses appears to be yet another Chinese novel set during the Cultural Revolution in which bourgeois families and pre-1949 intellectuals are purged and banished. But the unnerving characters of Si Yiwen and her granddaughter Mei, whom Si cares for, influences and later harms, soon promise something different. Born into wealth in Old China, Si survives under the new regime as a marginal housewife, insignificant enough to avoid persecution. Yet it is precisely this insignificance that piques her desire for recognition. From an early age, she was denied love with a young revolutionary and was then ignored by her husband and in-laws. Now she finds herself drawn to the political fervour like a moth to a flame.