Culture

The Swiss writer Peter Stamm’s inscrutable, alienated outsiders make bizarre choices to escape stifling mundanity. Their discontent suggests malaise, something Stamm accentuates in his spare prose. The result is a distilled essence of unease: the reader is uncomfortable, but can’t look away. This masterful combination of fundamental themes, explored without embellishment through confused lives, has won the author numerous prizes. His 2020 novel The Sweet Indifference hinged on the possibility of seizing lost chances and allowing events to unfold differently. In this collection of short stories, the narrator of ‘Marcia’ is a recluse who ponders about an ex from whom he beat a callously precipitate retreat.

The rules of sex can kill. In 1844 an angry mob shot Joseph Smith, the founder of Mormonism, for his polygamous ways. But in the counterculture today, polyamorists face less of a physical threat and more of a metaphysical one, as chronicled by the journalist Rachel Krantz in her tortured book Open: An Uncensored Memoir of Love, Liberation and Non-Monogamy. At its heart it’s the dark tale of a vulnerable woman falling for a manipulative man who slowly sucks the soul and marrow out of her. I wondered: why write this book, Rachel? You’re on the path to healing, so why peel your skin off with your nib and present it to the reader?

Edmund White’s new novel opens, somewhat improbably, in 2050. This imagined future, however, springs few surprises on the reader and is in fact almost identical to the present. Indeed, the leap forward in time is merely a narrative device, allowing a 70-year-old Sicilian aristocrat to reminisce about his affair 30 years earlier with the elderly Edmund White, now long dead and more or less forgotten as a writer. Ruggero Castelnuovo has subsequently married a much younger American woman, Constance. The couple have made a pact never to talk about their past lives, but they now decide to write their private ‘confessions’, and much of the book is taken up with these largely sexual memoirs, sections of which they read aloud to each other.

In the world of books, a modern classic is an altogether more slippery thing than a classic: it must walk a line between freshness and durability; reflect the current age but hope to outlast it. For individual publishers, given many 20th-century writers are still in copyright, a modern classics list will necessarily be partial. However, few such partial lists are as complete as Penguin Modern Classics (PMCs), founded in 1961 four years after Penguin’s general editor A.S.B. Glover said: ‘We don’t want — without outstandingly good reasons — to start any new series such as “Modern Classics”.

It could be said that the power of a horror story depends on the possibility, however minute, of it being true. This is partly why so many masters of the genre, from Bram Stoker to Robert Louis Stevenson, have given their narratives the semblance of believability by including epistolary passages, ‘found’ documents and the commentaries of ‘editors’ in their books. In The Runes Have Been Cast, Robert Irwin takes the opposite approach, writing in a prologue: Should any of my readers incline to a serious study of the subject of this book, it is only right to urge them most strongly to refrain from being drawn into the practice of the Secret Art... My own observations have led me to an absolute conviction that to do so would be a complete waste of time.

My daunting brief: to tell you about Hanya Yanagihara and her new, uncategorisable 720-page novel in 550 words. It’s the book-reviewing equivalent of a heated round of Articulate. Bums on the edge of the sofa, team. Flip that egg-timer. Here goes! American, born 1974, childhood spent largely in Hawaii. Debuted with The People in the Trees, 2013: clever, concept-led story about a fictional island whose inhabitants stumble upon the secret of extreme longevity. Best known for her second novel, the 800-page A Little Life, sold more than a million copies, shortlisted for the Booker. Come on, you know this one! Four gay friends, but mainly about Jude, the victim of terrible child abuse, addicted to self-harm.