Fiction

Nurture hatred in your heart and you will keep ‘an unfed tiger in a house full of children’. A man who passes on a plausible lie ‘may be offering a rattlesnake in a calabash of food’. Someone who lugs grievances around carries ‘a full pitcher of resentment from which, every step or so on its rough journey through the worn path of life, a drop or two spilled’. This second book from the young Nigerian author whose debut, The Fishermen, reached the Man Booker shortlist does not quite escape that difficult second novel syndrome. It’s overlong, raggedly structured and freighted with rambling digressions. Yet almost every page trumpets the gifts

Ma Jian’s novels have been banned in his native China for 30 years and he has been hailed as ‘China’s Solzhenitsyn’. His latest book, China Dream, also contains some of the zip and vigour found in Margaret Atwood’s dystopian visions. This must be one of the liveliest novels about brainwashing ever written. Ma Daode, the protagonist, is the director of the China Dream Bureau. Chillingly, such a body exists and was tasked with promoting Xi Jinping’s ‘China Dream of National Rejuvenation’ shortly after he came to power in 2012. Ma Jian takes this concept one stage further and has Ma Daode work on ‘developing a neural implant, a tiny microchip

In the opening pages of Turbulence, a woman in her seventies, who is visiting her sick son in Notting Hill, thinks how easy ‘it was, these days, to acquire a plane ticket’. Instead of a ticket to take us around the world, we have David Szalay’s novel, which takes us across continents in a series of 12 connected stories. The chapter headings are the acronyms of international airports; thus the first chapter is LGW-MAD and the last BUD-LGW. Each episode arises from a personal connection to a character in the previous one. Szalay might have been conscious of Forster’s dictum: ‘Only connect the prose and the passion.’ He is a

Orhan Pamuk, writing about Vladimir Nabokov’s masterful memoir Speak, Memory, noted that there was a particular ‘thrill’ for the writer who calls ‘something wholly autobiographical fiction, something wholly fictional autobiography’. When Nabokov did this, Pamuk said, it changed ‘the secret centre of the story’. The fertile interplay of fact and fiction animates a pair of books by the Korean American author Alexander Chee: one a collection of essays, the other Chee’s debut novel, published in the US in 2001 but appearing in Britain for the first time. There’s something strangely nostalgic about reading Edinburgh (it’s set in Maine; the title is a reference to a book that features in the

You could call The Remainder a literary kaleidoscope: look at it one way and you see how the past lays a crippling hand on the generation that follows political catastrophe; shift the focus and you’re plunged into a darkly comic road trip with a hungover trio in an empty hearse chasing a lost coffin across the Andes cordillera. The three protagonists are trapped in the past, obsessively dredging up and re-living the ruined lives of their parents, dissidents under Chile’s dictator, Pinochet. The terrors inflicted on the adults have profoundly scarred their offspring; the novel belongs to a category the Chilean novelist Alejandro Zambra has called ‘the literature of the

In a living room in Vineland, New Jersey, in the 1870s, a botanist and entomologist named Mary Treat studied the activities of carnivorous plants and reported her findings to her colleague, Charles Darwin (Treat is extensively referenced in Darwin’s Insectivorous Plants). Treat also corresponded with others — Charles Riley, Asa Gray — about these plants, the tower-building tarantulas she kept in her house, about ant colonies and swamp ferns, and wrote articles and books on her observations. ‘Treat’s work deserves to be better known,’ writes Barbara Kingsolver, in her acknowledgments for Unsheltered — and, perhaps, here, we find the motivation for this deeply searching, curious and passionate novel, in which

Haruki Murakami’s Killing Commendatore was published in Japan in February last year. Early press releases for this English version hailed the book as ‘a tour de force of love and loneliness, war and art — as well as a loving homage to The Great Gatsby’. Anyone familiar with Murakami’s 17 preceding novels can vouch for love and loneliness as his great themes; and war, art and F. Scott Fitzgerald are not new to him, but in Commendatore all enrapture. The narrator, a man with no name struggling with his own art — and, concurrently and inseparably, the women he sleeps with — recalls Murakami’s earlier nameless narrators, all the way

André Aciman’s 2007 debut novel, Call Me By Your Name, was a sensuous, captivating account of the passionate love a cosmopolitan teenage boy bore for an older American man, which has since been made into an elegant and successful film, directed by Luca Guadagnino. For readers of all sexual persuasions, there was universality in young Elio’s desperation, the false starts and misreadings in his interactions with his desired; the consummation and the final disappointment. Love, unrequited or not, is something of an Aciman speciality, and he returns to it here in his fourth book, Enigma Variations. More of a collection of vignettes than a straightforward novel, it examines the emotional

And so it comes, the final volume of Karl Ove Knausgaard’s My Struggle sequence: a pale brick of a book, one that might be The End, but is an undertaking all of itself. The previous five books — autofictions that catalogue one’s man’s life in exacting, almost terrifyingly detail — were far from slender, but The End is nearly 1,200 pages, and as such presents itself almost as a challenge, or a dare. Are you sure you want to do this? Can you really face a further delve into the painstaking minutiae of Knausgaard’s thoughts and actions? These are questions that recur as you read, the answers often changing in