Fiction

Desk-bound, needing to get out more

Great House is an ambitious novel, if it’s a novel at all. Great House is an ambitious novel, if it’s a novel at all. It’s an exploration of regret, longing, loss, and of how Jews attempt to cope with the destruction that characterises their history. The title refers to the Book of Kings: ‘All the houses of Jerusalem, even every great house, he burned with fire’. If, as one of Krauss’ spokesmen puts it, ‘every Jewish memory were put together, every last holy fragment joined up again as one’, would the Great House be built again? The book divides into two sets of linked sections, the halves mirroring each other

The call of the wild

Annie Proulx (pronounced ‘Pru’) began her writing career — quite late, in her fifties — as E.A. Proulx, to baffle misogynist editors; then she was E. Annie Proulx, until she dropped the E and became simply Annie the Proulx. Annie Proulx (pronounced ‘Pru’) began her writing career — quite late, in her fifties — as E.A. Proulx, to baffle misogynist editors; then she was E. Annie Proulx, until she dropped the E and became simply Annie the Proulx. (Her father’s ancestors, who left Anjou for Canada in the 17th century, were called Prou or Preault; her mother’s arrived in New England soon after the Mayflower.) Her fiction tends to be

Walking wounded

Paul Torday’s phenomenal success with Salmon Fishing in the Yemen was always going to be a hard act to follow. Paul Torday’s phenomenal success with Salmon Fishing in the Yemen was always going to be a hard act to follow. The idea of it was the thing — a wonderfully funny, mad idea, carried out economically in an epistolary style that rushed along from start to finish in a single fluid motion. ‘When once you have thought of big men and little men,’ a curmudgeonly Johnson said of Gulliver’s Travels, ‘it is very easy to do all the rest,’ but Salmon Fishing in the Yemen showed just how crucial that

Beatrix Potter meets the Marquis de Sade

Anthropomorphism and a weird, astringent sense of humour combined to make The Queue, the late Jonathan Barrow’s only novel, a work of genius in the opinion of his brother Andrew. Anthropomorphism and a weird, astringent sense of humour combined to make The Queue, the late Jonathan Barrow’s only novel, a work of genius in the opinion of his brother Andrew. The typescript he inherited, though ‘unedited, repetitious and often excessively scatological’, he writes, ‘appealed to me immediately . . . I found it screamingly funny.’ In this affectionate expression of sibling adulation, he describes Jonathan’s style as ‘part journalese, part satire, part Beatrix Potter, part Marquis de Sade’. Jonathan wrote

Bruising times

In a market town in Kent at the time of Thatcher’s Britain, Charles Pemberton attends the town’s minor public school where his businessman father is a governor. In a market town in Kent at the time of Thatcher’s Britain, Charles Pemberton attends the town’s minor public school where his businessman father is a governor. Back in the 1930s, his grandfather Clarence had had ‘the right idea’, which was to build an eight-foot wall across a residential road in Oxford to separate his family home from newly built council houses. There is no such fortification available against the arrival at the school of Clark Rossiter, ‘a London chuck-out’ from a fringe

Cross-cultural exchanges

The 18 stories, each around a dozen pages long, in E.C. Osondu’s Voice of America seem to have poured out of him like water. They have a fluency, an evenness of tone and texture, that creates an illusion of transparency and simplicity. The 18 stories, each around a dozen pages long, in E.C. Osondu’s Voice of America seem to have poured out of him like water. They have a fluency, an evenness of tone and texture, that creates an illusion of transparency and simplicity. There’s great comedy — and also artistry — in this because almost every story actually describes some degree of false consciousness, wrong-headedness or pathetic illusion. Life

Names to conjure with

Golly gee. Academic literary critics are going to hate Faulks on Fiction like sin. Here is Sebastian three-for-two Faulks, if you please, clumping onto their turf with a book of reflections on a couple of dozen great novels. And he declares in his introduction, with some pride, that he intends to take ‘an unfashionable approach’ and examine characters in these books ‘as though they were real people’. And he then divides them into four character types — Heroes, Lovers, Snobs and Villains — without so much as footnoting a structuralist ethnographer, instead declaring ex cathedra that these are ‘the four character types that British novelists have returned to most often’.

And then there was one . . .

The English fascination with spies is gloriously reflected in our literature, from Kim to A Question of Attribution, and while their Egyptian and Israeli counterparts remain untranslated, and the Americans unreadable, English spy novelists rule. Compromised, divided and alienated, the spy is a model modern hero, and the spy’s world, with its furtive and fetishistic arcana, is an admirable theatre of identity, of English attitudes to sex and class, hypocrisy and betrayal. (The best recent spy novel is John Banville’s The Untouchable, which tells the story of Anthony Blunt more freely than Alan Bennett’s play, nudging the facts into outrageous fiction — casting Graham Greene as the villain, for example.)

Odd characters

Cedilla picks up where Adam Mars-Jones’s previous novel Pilcrow (2008) left off. Cedilla picks up where Adam Mars-Jones’s previous novel Pilcrow (2008) left off. That book described the early life of John Cromer, a boy whose joints are fused by arthritis. Most of it saw him bed-bound, whether at home in Bucks, at hospital, or boarding at a school for the disabled, where, sizing up the bulges in his classmates’ trousers, he wowed his dormitory with an unrivalled ability to talk filth after dark. The new book gets out more. Over the course of the 1960s, John has corrective surgery (painfully botched), passes his driving test, flies to India for

The real deal

‘“We weren’t phoney,” Stephen said. “Our whole point was to live an authentic life, to challenge the bourgeois conventions of our parents’ generation. We wanted to make it real.”’ Such is the lifelong aspiration of Stephen Newman, the baby boomer hero of Linda Grant’s new novel. ‘“We weren’t phoney,” Stephen said. “Our whole point was to live an authentic life, to challenge the bourgeois conventions of our parents’ generation. We wanted to make it real.”’ Such is the lifelong aspiration of Stephen Newman, the baby boomer hero of Linda Grant’s new novel. As ambitions go, it’s fairly modest. He doesn’t want to scale Everest or found a business empire or

The sweet smell of danger

If this novel is ever published with a scratch-and-sniff cover — which incidentally, I think it might be successful enough to warrant — this is what it would smell of: cheap petrol, lust, the ripe, acidic scent of decaying corpse, cat litter, $2,000 suits, Cristal champagne, decaying encyclopaedia, corruption, fumes from the power plant, betrayal, sausage. If this novel is ever published with a scratch-and-sniff cover — which incidentally, I think it might be successful enough to warrant — this is what it would smell of: cheap petrol, lust, the ripe, acidic scent of decaying corpse, cat litter, $2,000 suits, Cristal champagne, decaying encyclopaedia, corruption, fumes from the power plant,

A novel approach

An interesting phenomenon of recent years is the novel about a real-life novelist. Of course, writers have often included fictitious members of their trade within their work — one thinks immediately of Thackeray’s Pendennis, Anthony Powell’s Nick Jenkins and Waugh’s Pinfold. Often, too, novelists have contrived extended tributes to favoured masters — Fielding features prominently in Kingsley Amis’s I Like It Here — without intruding into their social world. But, until recently, the novel which openly entered into biographical territory, writing a romance about the private lives of classical novelists or other artists, was rarely taken very seriously. Carl Bechhofer Roberts’s This Side Idolatry on the life of Dickens is

Smart ass

It’s the way Caroline pisses onto the concrete during the lunch break that delights her work colleagues: in a steaming, splattery arc. It’s the way Caroline pisses onto the concrete during the lunch break that delights her work colleagues: in a steaming, splattery arc. ‘It seemed to them an eloquent demonstration of the fact that the rules they lived by did not apply to her.’ Caroline is a donkey. During the day she analyses policy documents, calculates premiums and nibbles the pot-plants. In the evening she trots home across the city, through the chaotic tides of traffic and confusion of construction sites, to her keeper, Mr Shaw, to play chess.

Too good for words

I confess myself baffled by this fable. The narrative is as clear, the prose as uncluttered, as one expects from Susan Hill, but its very simplicity leaves me wondering whether I’ve missed the point. I confess myself baffled by this fable. The narrative is as clear, the prose as uncluttered, as one expects from Susan Hill, but its very simplicity leaves me wondering whether I’ve missed the point. The strapline tells me to expect a tale of ‘greed, goodness, and an extraordinary miracle’. Well, it doesn’t seem to be about greed at all. There isn’t a greedy person in it. Needy, yes; it deals with need. ‘Goodness’ is more like

The gentle touch

My main disappointment with this collection of stories was that I had already read six of them, in publications ranging from the New Yorker to the Guardian. This, however, only goes to prove the eagerness with which I seize upon Julian Barnes’ intelligent and subtle writing wherever it may first appear. Barnes’ two previous collections of short stories were loosely linked by a theme, though this was never overbearing: Cross Channel explored Anglo-French relationships, while The Lemon Table circled bleakly around old age. The stories in Pulse are more tenuously linked — except in so far as this is a collection about the tenuousness of links within human relationships. Indeed,

Journeys and strangers

It has been said that the world of story- telling contains two fundamental plots — a man goes on a journey, or a stranger comes to town. Here we have two journeys, and one unexpected visitor, from three debut novelists who show great promise. In the first, the stranger arriving in town is the eponymous Mr Chartwell, the large and ‘strikingly hideous’ black dog that is the embodiment of Winston Churchill’s depression, who turns up on the doorstep of Esther Hammerhans one morning in July 1964. Esther, a library clerk in the House of Commons, has advertised a room to let, and Mr Chartwell is the sole respondent. He is in

Miracles of compression

In the course of a lifetime of fiction reviewing, I have come to the conclusion that, though my colleagues are prepared doggedly to persevere with the reading of a novel from its muddled opening to its inconsequential end, they will read no more than four or five stories in a collection. What always guides them in this lazy choice is that one of the favoured stories will be the title one and another the most substantial. Since the title story is also the most substantial — in effect a novella — in Allan Massie’s Klaus, one can be absolutely certain that it will be the one on which every reviewer,

Mysteries and hauntings

Javier Marias’s elegant new volume is a collection of ghost stories, but its alluring dust jacket, illustrating the first tale, shows us a sunny midsummer image of a woman in a bikini admiring herself on a beach. Javier Marias’s elegant new volume is a collection of ghost stories, but its alluring dust jacket, illustrating the first tale, shows us a sunny midsummer image of a woman in a bikini admiring herself on a beach. All is not as pleasant as at first it seems, of course, and we soon enter his characteristically darker world of voyeurism, jealousy, revenge, doppelgängers and crime passionel. But the tone throughout the volume is playful

BOOKENDS: In the bleak midwinter

Salley Vickers name-checks (surely unwisely) the granddaddy of all short stories, James Joyce’s ‘The Dead’, in the foreword to her first collection, Aphrodite’s Hat (Fourth Estate, £16.99). Salley Vickers name-checks (surely unwisely) the granddaddy of all short stories, James Joyce’s ‘The Dead’, in the foreword to her first collection, Aphrodite’s Hat (Fourth Estate, £16.99). However, the less desirable influence of Roald Dahl seems to preside more tellingly in many of these yarns, which recall Tales of the Unexpected in their predictable twists and spooky presences. Fortunately, Vickers does not stay completely within the formula, and the volume contains a number of sketches about unhappy couples, dreadful mothers and uncared-for children

Classic makeover

Philip Hensher finds Flaubert’s scorn for his characters relieved by hilarity Astonishingly, this is the 20th time Madame Bovary has been translated into English. I say ‘astonishing’ because, as everyone knows, great novels in foreign languages tend to get done once, if at all. Most of Theodore Fontane has never been translated, or Jean-Paul, or Stifter; only in the last few years have the antique H. T. Lowe-Porter translations of Thomas Mann been superseded, and if you want to read most of Balzac’s immense work you will have to resort to 19th-century collected editions. Couldn’t one of those translators or publishers have turned their attention instead to Balzac’s Louis Lambert,