Fiction

Gwendoline Riley’s unsentimental fiction hovers on the edge of comedy and bleakness, and has drawn comparisons from Jean Rhys to Albert Camus. First Love, her fifth novel, put a toxic relationship under the microscope, winning the Geoffrey Faber Memorial Prize in 2017 and being shortlisted for five others, including the Women’s Prize for Fiction. Expanding on one of its strands, her sixth book zeroes in on child/parent dynamics. In My Phantoms, Bridget, an academic, reflects on her relationship with her late father and mother. Glimpses of her suburban upbringing reveal a mother miserably yet willingly shackled to convention. When Bridget asks Helen why she married the monstrous husband she left

I have enjoyed many of Alan Warner’s previous novels, so it gives me no pleasure to report that his new book is so monumentally tedious that when two accountants turn up halfway through you think: great! Things might finally be getting interesting. Kitchenly 434, set in Thatcherite Britain, is narrated by Crofton Clark, an aging hippy who lives at Kitchenly Mill Race, a Tudorbethan pile belonging to the mainly absentee rock star Marko Morell. Crofton loves both Marko and the house with an obsessiveness signalled by his frequent mentions of the fact. ‘I’m your, eh, caretaker,’ he reminds the owner. ‘I’m the retainer. I’m a faithful retainer of this house

This is a novel about ‘mommy issues’. Rachel is a Reform Jew, ‘more Chanel bag Jew than Torah Jew’, and her mother has always been preoccupied by her daughter’s weight. ‘Anorexics are much skinnier than you’, she tells Rachel when she develops the condition as a teenager. ‘They look like concentration camp victims.’ Rachel’s therapist, Dr Mahjoub (who, we are told, fills her consultation room with elephants in trinket form) recommends a total break in contact between mother and daughter for 40 days. Before this begins, Mahjoub makes Rachel perform an art therapy exercise: to create a sculpture of how she sees herself out of modelling clay. ‘I made massive

I’ve tried hard to think of someone I dislike enough to recommend this novel* to, but have failed. Elfriede Jelinek is Austria’s leading contemporary literary figure, and to open rein GOLD at random is to get the impression that she is the successor to Thomas Bernhard — page after page without a single paragraph indentation, a general ranting tone, maddening repetitiveness, and cult status. Just in case Jelinek’s is an unfamiliar name: she is an extremely neurotic person, a sufferer from many phobias — unable to travel to collect her Nobel Prize; a copious writer, many of her books having been translated into English among other languages; and, most significantly,

A father and his estranged 20-year-old daughter set off across France, sharing the driver’s cabin of a long-haul truck. This is a road trip like no other: Paddy, deracinated, footloose, divorced, taking on a temporary job for reasons that become clear later; and daughter Kitty, spiky, provocative, shaved head, grubby jeans and sweater, wrapped in an old mink coat she’s pinched from her grandmother. Occasionally she rewards her father with an ambiguous affectionate response as their edgy banter veers in and out of dangerous territory: the minefield of parenthood. The narrative is fractured; nothing told chronologically, the surface deliberately throw-away — skewed punctuation, sentences left hanging. Conor O’Callaghan is a

The world of Kazuo Ishiguro’s new novel — let’s call it Ishville — is instantly recognisable. Our narrator, Klara, is arranging traumatic memories into comprehensible order. She is a robot, an Artificial Friend or AF, purchased as a companion for an ill teenager named Josie. Klara’s speaking voice, in a C3PO-ish way, is endearingly off-kilter: ‘I was instructed to ensure against hanky-panky.’ ‘I’m sorry. It’s my error. I don’t understand yet the rules about forgiveness.’ There is no backstory explaining when the robots were invented, and no metaphors except the one shining in the title. When Klara has been bought, she wonders what emotions she might experience if she ever

In France, even the car horns yelled about Algeria. A five-beat klaxon blast — three short, two long — signalled Al-gé-rie Fran-çaise. In the early 1990s, I slunk into a rally held by Jean-Marie Le Pen in Nice to find that for the ranks of cropped, thickset pieds noirs in leather jackets, the bloodbaths and betrayals three decades back in Oran, Constantine or Algiers drove what they thought and how they voted. A generation later, Algerian migrants or returnees — Arab, Kabyle, European — now have second- and third-generation families. But the atrocity-littered independence war of 1954-62, and its gruesome aftermath, remain festering wounds. France, as President Macron put it

Seventh Seltzer is a nice family man, working as a publisher’s reader in New York, who happens to come from a family of cannibals. Specifically, Cannibal-Americans. The Can-Ams are the most marginalised of America’s minorities, largely because of their funerary rites: when one of them dies, the relatives drain the corpse of blood and then eat it. How much of the corpse is eaten becomes a very moot point towards the end of the novel. Seventh is so called because he’s the seventh of 13 children begotten by his mother, known to them all as Mudd.A monstrous figure, 6ft 2in tall and grotesquely obese, she has been fattening herself up

In an essay for Prospect a few years back the writer Leo Benedictus noticed how many contemporary novels used what he called a ‘hindered’ narrator: that is, a protagonist (often a child) whose partial understanding of their world forces us to read between the lines. Unreliable narrators set out to deceive. By contrast, hindered narrators — such as the trapped five-year-old in Emma Donoghue’s Room — genuinely believe what they tell you: it’s all they know. As in Room, a hindered narrator can supply drama and pathos, but it’s handy for farce, too, as Christopher Wilson knows well. He likes to write about science biting off more than it can

Of the handful of things we can establish about Willis Wu, the protagonist of Charles Yu’s second novel, the most crucial is that he has occasional small roles in an American TV detective series, Black and White, set in Chinatown. In a group of similarly complexioned jobbing actors, his scope is limited to Background Oriental Male, Striving Immigrant or Generic Asian Man. His dream, like everyone else’s, is to rise to the athletic heights of Kung Fu Guy. Printed in the form of a script, with a typeface that looks as though it’s come straight off a manual typewriter, Interior Chinatown comically charts Willis’s progress through the ranks of extras.

The Autumn of the Ace begins in 1945, as the second world war ends, but both Louis de Bernières and his protagonist Daniel Pitt appear reluctant to leave warfare behind. Pitt is a flying ace, but so nervous about returning to civilian life that he argues against handing back his service weapon. Eventually he capitulates. During the war, he lost two toes after being tortured by the Gestapo but he nonetheless appears to prefer physical peril to the prosaic dysfunctionality of his family life. His mother and one of his daughters are dead, his marriage has disintegrated and he has fathered two children by his wife’s bohemian sister. His son