Philip Womack

Zadie Smith’s ambitious latest novel, The Fraud, is loosely based on the life of the little-known nineteenth-century novelist William Harrison Ainsworth. He was, at one point, as popular as Charles Dickens, his novel Jack Sheppard even outselling Oliver Twist. But Ainsworth’s fortunes and talents declined, and his forty-odd novels vanished, going out of print soon after his death. Throughout The Fraud, as he sits groaning at his desk, he is an arch reminder not only of the vagaries of literary fame, but the pains of fiction-writing. As his cousin Eliza Touchet observes: “God preserve me from that tragic indulgence, that useless vanity, that blindness!” Ainsworth’s actual writing is redolent of educated middle-class male privilege. (“‘Zounds!

William Boyd is perhaps best known for his novel Any Human Heart, which charts the adventures of Logan Mountstuart throughout the twentieth century. Mountstuart marries well, divorces, annoys the Duke of Windsor, is imprisoned, becomes an art dealer in America and has sundry diverting escapades. It’s a warm, impassioned and involving narrative, and Boyd winningly returns to a similar formula in his latest book, The Romantic. The prologue presents The Romantic as a fictionalized biography, reconstructed from notes and maps left behind by its subject. All biography, says Boyd, is by its nature fictional.

As a little boy, Luke Turner, like so many other little boys, was fascinated by World War Two. He used to spend hours carefully making Airfix models of warplanes, and his favorite haunt was the Royal Air Force Museum in Hendon, a suburb of North London. Men at War, his second book, is an attempt to explore and explain both this interest and his own sexuality (he is bisexual, with a female partner), in response to what he sees as the dominant, jingoistic attitude propagated via general British cultural discourse. He claims that we do not see those who fought as individuals, but as clipped, heroic avatars, like Captain Sir Tom Moore, who raised millions of pounds for NHS charities during the lockdowns: dignified, silent, brave.

The French novelist Michel Houellebecq recently appeared in a pornographic film. As one does, of course, although he claims that it was by accident. Nevertheless, there aren’t many authors-turned-actors, even by design. (Graham Greene had a small cameo in Truffaut’s Day for Night; Maya Angelou pops up dispensing folksy wisdom in How to Make an American Quilt.) You will, however, lose count of the thespians who clamor to adorn the printed page; I will not mention any, but you can look them up, should you wish to. Tom Hanks (the actor) has produced his debut novel, The Making of Another Major Motion Picture Masterpiece. The title is, I think, supposed to be arch, in a David Eggers, Heartbreaking-Work-of-Staggering-Genius kind of way.

Alice Winn’s beautifully written and engrossing debut, In Memoriam, comes hot on the heels of Tom Crewe’s debut The New Life, which followed the tortured relationship between two men at the turn of the century, and was loosely based on the life of the scholar John Addington Symonds. Winn has turned her impressively attuned eye to World War One, and two young men who fall in love at their public school (old money, military and aristocratic connections, tailcoats and buggery), before heading off to the front; the flower of their generation, doomed to die as the mechanistic future tears apart chivalric ideals, and society starts to question its very nature.

Tom Crewe’s highly accomplished debut novel, The New Life, concerns the suppression of sexual feelings, and how utopian visions can falter when they come up against cold hard reality. It begins with John Addington (closely, though not entirely, based on the nineteenth-century man of letters John Addington Symonds), fantasizing about a homosexual encounter in a London underground train. The carriage is crammed: a man is pressing his buttocks into John’s crotch; John’s excitement cannot be concealed; soon they are in the throes of passion, despite the crowds around them. It’s a claustrophobic, tense, almost nightmarish scene, executed with minute attention to detail.

Katy Hays’s involving, well-tuned debut novel takes its name from a real museum in New York, the Cloisters. Built by a Rockefeller, it resembles a medieval monastery and brims with glorious treasures. Ann, our provincial heroine (from Walla Walla, where she worked a menial job in order to fund college), would have preferred the Met, but when she’s serendipitously hired for a summer role, she finds herself swiftly pulled into the institution’s inner workings and the nefarious machinations of its well-heeled staff. The cutthroat nature of the museum is placed under the spotlight.

Stephen Amidon’s Locust Lane begins late at night, with a dog run over by an alcoholic fund manager. Patrick is well over the limit: “He didn’t need another item in the overladen shopping cart of guilt he was pushing around.” He vacillates, and then scarpers, setting up the novel’s themes of addiction, accident, power and privilege, and how far people will go to save themselves. Questions of nature and nurture abound: does monstrous behavior pass down the generations, or is it learned and acquired? And what lengths will communities go to in order to protect their own? Locust Lane is a street in the town of Emerson. It’s a tony neighborhood, whose vast, spotless houses contain apparently equally spotless WASP-y families, insulated by centuries of accumulated wealth.

Paul Theroux is not averse to writing about toxic family relationships. His 2017 novel, Mother Land — written, he said, in lieu of a memoir — chronicled the affairs of the Justus family and its monstrous matriarch. The power plays between the many siblings involved endless backstabbing. At the book’s heart was the rivalry between two brothers, very much inspired by Theroux’s own family. It was an odd, overlong, bitter novel, its characters motivated by spite and revenge, piling up resentments over many hundreds of loosely written pages. Fortunately, The Bad Angel Brothers is a good deal tighter. It also concerns internecine warfare centered around a pair of brothers, who initially seem very different. But, as the narrative progresses, their similarities become all too apparent.

The director Werner Herzog’s first novel, The Twilight World, occupies quintessential Herzogian territory. Those familiar with his films will recognize the themes: man’s insignificance in the face of a totally implacable nature and his overweening ambitions to surmount this failure. Futility and pride are locked together in hallucinatory, self-destructive cycles. His film Fitzcarraldo, for example, demonstrated the real-life attempts of a rubber baron to transport a steamship over a mountain in Peru. Grizzly Man, meanwhile, documented the sad life of a man who had made his home among bears. It doesn’t end well. (Those readers who haven’t the time to get to know his work may wish to find “Werner Herzog” reading Curious George on YouTube — a delightful parody of his style.

Flint and Mirror, John Crowley’s engrossing and elegant latest book, is set in a sixteenth century where angels and demons watch over human quarrels and sometimes even intervene. History and magic entwine, and yet are opposed. There is the ongoing conflict between Catholicism and Protestantism, as the Catholic Spaniards eye up invading England. The novel is also about the beginnings of modernity. As the reign of Queen Elizabeth I of England comes to an end, we progress gradually toward exploration of the globe and the Enlightenment. Farewell rewards and fairies, indeed. Elizabeth, serpentlike, broods in her English fastness, sending spies both physical and metaphysical throughout the land. Her personal magician, Dr.

Natalie Standiford’s latest novel, Astrid Sees All, captures the bohemian world of New York in the late 1970s and early 1980s in acutely elegant prose. It charts the fortunes of a young suburban girl, Phoebe Hayes, in elegiac but unsentimental fashion. Phoebe longs to live in the “golden world,” as she sees it, of parties and socialites, where John-John Kennedy rubs monied shoulders with the Shah of Iran’s niece, and cocktails, champagne and cocaine flow undimmed until morning. There are hints of Gilbert Adair’s Parisian youths in The Dreamers and Jonathan Dee’s novel about the effects of great generational wealth, The Privileges.

Coco Mellors’s lively, involving debut novel begins on New Year’s Eve in New York, with Cleo and Frank meeting in a descending elevator. It’s a sure sign that their future relationship will not end well. Cleo is British, young, golden and an artist; Frank is American and old (well, he’s in his late thirties), and he has taken the devil’s dollar by working in advertising. Cleopatra and Frankenstein deals primarily with the indistinct boundaries between commerce and art, set against a backdrop of neurotic New Yorkers, glitter, drugs and booze. As Frank walks Cleo home through streets full of hedonists, swapping one liners and teasing each other, they fall in love (or at least, into a clinch on the stairs of her dingy apartment).