Amanda Craig

Adultery and betrayal have always been richly rewarding subjects in fiction, as John Lanchester’s Look What You Made Me Do confirms. Set in contemporary London and featuring architect-designed homes, book groups and the Oxbridge-educated middle-class, it comes perilously close to being that dread thing, a Hampstead novel – only to subvert it. For after one

Our appetite for true crime is nothing new. The Victorians devoured it and, as Lottie Moggach’s fourth novel shows, they were as gawking and prone to erroneous judgments as any crowd on social media. Mrs Pearcey is about two women in 1890s London: sparky young Hannah Teale, engaged to a rising journalist on the Star

It’s 1796, and an idealistic young English doctor, Duval Harlington, just released from La Force prison in revolutionary Paris, learns that his father is dead. He is now Lord Harlington, heir to a fortune and the idyllic estate of Muchmore. But in order to gain possession of his heritage – and, as importantly, foil the

In this age of lies and delusions, the trickster may seem to be a peculiarly modern creature, but he or she is almost as old as literature itself. Long before phishing or fake news, stories about cunning foxes, Loki, Anansi the Spider-Man and Odysseus brought delight; Puck, Tom Ripley and Sarah Waters’s fingersmith Sue Trinder

Stories and films set in stately homes continue to fascinate us, and Lissa Evans’s latest novel is likely to increase our appetite. It is 1945, and Dimperley Manor, the large, dilapidated home of the Vere-Thissetts near Aylesbury, has been almost emptied of its wartime evacuees. Only the widowed Zena Baxter (who adores Dimperley) and her

A toddler has gone missing on a council estate in London. Tom, a tabloid journalist, gets the whiff of a story that she may have been killed by another child, Lucy Green, the daughter of a young Irishwoman, Carmel. But Carmel is sunk in the misery of her first and only love affair in Waterford,

Ruth, the narrator of Susie Boyt’s seventh novel, is both the child of a single mother and a single mother herself. Intelligent, quirky and despairingly fastidious, she has tried to bring up her adored daughter in loving orderliness, but the results have been disastrous. By 15, the beautiful, gifted Eleanor is a heroin addict, living

Thanks to the Booker Prize, Richard Flanagan is probably the only Tasmanian novelist British readers are likely to have heard of. His reworking of the life of the Australian hero ‘Weary’ Dunlop, a doctor who became a prisoner of war on the notorious Burma Death Railway, in The Narrow Road to the Deep North was

Lissa Evans has been single-handedly rescuing the Hampstead novel from its reputation of being preoccupied by pretension and middle-class morality. Her original black comedy (Crooked Heart) concerned Vee, a middle-aged suburban scammer, and the prodigiously bright but orphaned Noel, who join forces in north London’s urban village during the second world war. Evans then went

Lydia and Luca are hiding in the shower room of their home while 16 members of her family are murdered. Lydia’s husband, a journalist, wrote about the latest drugs cartel in Acapulco and now, to stay alive, the mother and small son must disappear to America. Instead of the middle-class life Lydia has enjoyed as

Memoirs about giving birth, a subject once shrouded in mystery, have become so popular that another may seem otiose. We are all produced in variations of anxiety, pain and delight: what is the point of labouring labour? Two years ago, the novelist Francesca Segal gave birth to twins ten weeks prematurely. Her account of their

Aficionados of detective fiction have long known that the differences between the soft- and hard-boiled school are so profound that, as P.D. James observed, it seems stretching a definition to place both groups in the same category. Over here we have, or used to have, a comforting story concerned with restoring order to the mythical