Rachel Seiffert

In the arctic borderlands in the 1800s Finns and Swedes have come to live among the Sami. Missionaries and traders, they have brought alcohol and Protestant teaching.  ‘Mad Lasse’ is what the locals call the preacher, and mostly they keep their distance, staying with their reindeer out on the tundra, following their ancient customs.  Some, though, have been awakened.  Hanna Pylvainen’s novel opens with Biettar, a Sami widower, brought to church by an earthquake – by a voice he heard among the tremors. In his fur trousers, stinking of smoke and reindeer, he falls to his knees before Mad Lasse, declaring himself with God. So the preacher exerts his pull, but then so does the trading post next to the church.

At the core of Paul Carlucci’s debut novel is a protracted medical experiment conducted by one human on another. Set on the Canadian frontier of the 1830s and inspired by historical record, the book takes the strange case of Dr William Beaumont’s tests on Alexis St Martin’s digestive system and spins a marvellously dark yarn around them, exploring the uses and abuses of an innocent. Alex is the innocent in question – the voyageur of the title. Our journey with him starts in raw boyhood, finding him living at the back of a Quebec harbour storehouse. His mother is dead, his beloved petit frère also. His grief-stricken father has sailed back to France, promising to return with enough earnings to start their dreamed-of peach orchard.

On the night of 13 June 1982, Dave Parr was hit by shellfire on Wireless Ridge. He was 19, a private in the Second Battalion the Parachute Regiment, and had just become one of the 255 British servicemen lost in the Falklands. Helen Parr, his niece, was only seven at the time. Now an academic at Keele, teaching international relations, she has written a very fine book indeed on the Britain of her childhood, the Paratroopers’ Falklands experience, and the regiment in which her young uncle served.

‘Light as a feather, free as a bird.’ Günter Grass starts this final volume of short prose, poetry and sketches with a late and unexpected reawakening of his creative urge. After peevish old age had brought on such despondency that ‘neither lines of ink nor strings of words flowed from his hand’, he was gripped — out of the blue, and to his evident relish — by the impulse to ‘unleash the dog with no sense of shame. Become this or that. Lose my way on a single-minded quest.’ It makes for an invigorating opening: a three-paragraph paean to the unruly and questioning spirit which drove Grass’s writing throughout his hugely productive career.