Matt Thorne

After a long struggle to receive mainstream publication, Paul Auster’s first few novels were a genuinely significant contribution to American letters, his patented mix of postmodernism, deadpan comedy and metatextual homage to Kafka, Hamsun, Melville and Hawthorne so singular it invited parody. Among these books, The New York Trilogy and The Music of Chance seem likely to last many years from now. But the second half of his career has proved more problematic. Seemingly tiring of his own shtick, he spent a long time dismantling what made him great, sometimes to powerful effect (Oracle Night), but more usually in a way that seemed designed deliberately to test his biggest fans.

How’s this for a heartwarming set-up­­? Forty-something recovering alcoholic and aspiring artist Ginger copes with the disappointment of being unable to have children of her own by signing up to an organisation that sends underprivileged inner-city kids to the homes of middle-class couples in the countryside. When she is introduced to 11-year-old Dominican girl Velvet, the two bond over horses, with Ginger offering the girl a freedom denied to her by her domineering mother. It sounds perfect for book clubs, soon to be a life-affirming movie, and of little literary interest. But The Mare has much more merit than the synopsis suggests.