Max Fletcher

There is an old Yorkshire tale about a prosperous town which, legend has it, once stood on the site of Lake Semerwater. A beggar comes looking for alms but is turned away by everyone, save for a poor couple. As he is leaving, he curses the proud townspeople and water rises up and floods their houses, leaving only the couple’s hovel high and dry. In Summerwater, her seventh novel, Sarah Moss moves this tale north to a holiday resort by a Scottish loch and transforms it from a moralistic parable into a complex reflection on the contemporary situation. But she retains the haunting images of rising water and strangers being refused hospitality.

There was a time when you read French literary novels in order to cultivate a certain kind of sophisticated suspicion. Post-modern writers like Robbe-Grillet, Ricardou and Perec were hyper-aware of the political and philosophical problems underlying traditional realist narratives. They produced novels that were as much critiques of novel writing as they were actual stories with actual characters. Nowadays, however, one might go to the French section of a bookshop looking for something more Balzacian. One might read Houellebecq for his excoriating critiques of our political culture, or Édouard Louis for an exposé of the prejudices fostered by French working-class life.