Culture

One critic memorably described Waiting for Godot as a play in which nothing happens, twice. Twenty Minutes of Silence is a novel in which something happens, repeatedly. Ina luxurious villa in northern France a man lies dead, surrounded by disorder – apparently a robbery gone wrong. When the police arrive, they find he was shot with his own gun and the murder weapon is missing. His wife and 15-year-old son become suspects. What is really going on here? Again and again we are taken through the night’s events, starting afresh each time. The dead man was a multi-millionaire with dubious associates. The marriage relationship seems ambiguous: the wife could have been deceived or unfaithful.

On 21 February 2022, 35-year-old Charlie Walker flew into Yakutsk in the Russian Far East, ready to ski hundreds of miles up the frozen River Lena, pulling his gear on a sledge. He was heading to the Laptev Sea, a large peripheral bay of the Arctic Ocean. A neighbour at home in London had wished him luck. ‘Frostbite I can handle,’ Walker replied. ‘Let’s just hope Russia doesn’t start a war while I’m there.’ But it did. Walker writes: ‘That Special Military Operation changed everything: for me, for Ukraine and for the world.’ Obliged to change plans, he flew north-east to Batagay over the Verkhoyansk Mountains, and from there set out over the Yana and Omoloy rivers.

For more than half a century, M. John Harrison has been writing about decay and dispossession in a style that is at once restless and exacting. Often an audacious weaver of science fictions, he has also operated in a ruggedly realistic vein – though the distinction would probably strike him as bogus, a marketing position rather than useful framing. The End of Everything occupies typical Harrison terrain, with notes of J.G. Ballard and David Lynch as well as more than a hint of Stanley Spencer’s paintings (think compost heaps and clutter).

Two people make an awkward stab at a relationship, even as both flounder under the realities of modern life. Yes, we’ve seen elements of I Want You to Be Happy before – and it even comes with an endorsement from Sally Rooney. But Jem Calder still succeeds in offering something fresh, and the novel stands on its own two feet as an intricate analysis of love in the 2020s. Chuck and Joey meet at a nightclub. He is in his thirties, recently single, with a steady job as a senior copywriter. She is in her early twenties and works as a barista. The chapters alternate between their perspectives as their relationship develops. It’s a very east London book. The couple’s dates include a trip to ‘an independent bookshop, whose branded tote bag they both owned’.