Fiction

Grief leads us down some strange roads. Few, though, can be as peculiar as those charted by Paul Stanbridge in his auto-fictional My Mind to Me a Kingdom Is. This singular and striking book follows a narrator (the extent to which this figure overlaps with Stanbridge is kept teasingly obscure) mourning the suicide of his brother, an isolated, eccentric mathematician. Yet, while it contains passages of raw tribute, it is a self-consciously tricksy narrative. Stanbridge circles around his brother’s death via some of history’s more overgrown byways, such as ‘Clever Hans’, the mathematical horse, locked-in syndrome and Jean-Jacques Rousseau’s enthusiastic onanism. There’s a suggestion of Olga Tokarczuk’s novel Flights to

The Scottish writer David Keenan has published five novels in five years: This is Memorial Device (2017), For the Good Times (2019), Xstabeth (2020), last year’s magnum opus Monument Maker and now Industry of Magic & Light. At a comparatively modest 250 pages (Monument Maker weighed in at more than 800), it is practically a novella, or perhaps the sort of pamphlet one might once have picked up in a ‘head shop’ such as Compendium Books in Camden. The last book of Keenan’s I reviewed here I described as ‘either a cycle of novels or one vast fictional gallimaufry’ – to which I now approvingly add a third category. Industry

On its posthumous publication in 1980, Vasily Grossman’s Life and Fate was widely compared with War and Peace. For all the novel’s many virtues, the comparison was hyperbolic. In one respect, how-ever, Grossman’s was the more remarkable achievement. Whereas Tolstoy wrote about historical events with the benefit of hindsight, Grossman wrote about ones that he had recently endured. Life and Fate was the third of Grossman’s novels set during the Nazi invasion of the former Soviet Union. The first was The People Immortal, which, like the second, Stalingrad, is now available in an unexpurgated edition, superbly translated by Robert and Elizabeth Chandler. It covers a few days in July 1941

Vladimir Sorokin, old enough to have been banned in the Soviet Union, flourished in the post-Gorbachev spring, and he fled to Berlin several days before Russia attacked Ukraine. He writes phantasmagorias, as so many Russians do, because Russia is a nation that has never allowed its writers to examine society directly. Solzhenitsyn said: ‘Russian literature gives a poor notion of Russia, because after 1917 all truth was suppressed.’ But even in the so-called Golden Age, the Tsar’s censorship was brutal. Voinovich said: ‘Depicting reality as it is, it’s very alien to Russians.’ Gogol provided one way out – satire – but he escaped to Rome. Later writers escaped into the

Summer is a time for blockbusters and Anthony Marra has delivered the goods with Mercury Pictures Presents, a sweeping book about 1940s Hollywood, Mussolini’s Italy and America’s entry into the second world war. The action opens in the executive offices of Mercury Pictures International, a struggling film studio run by Artie and Ned Feldman, two brothers modelled on Jack and Harry Warner. It’s late summer 1941, and as well as fighting each other, the Feldmans are fighting the isolationist senators accusing Hollywood of pushing America into war. The battle to get the script for Devil’s Bargain approved is ‘shaping into a pivotal confrontation between campaigners for free speech and crusaders

‘Witch-hunt’ has become a handy metaphor for online persecutions, especially of women, though these days it is reputations that go up in flames rather than bodies. The mob mentality behind the phenomenon may not have changed as much as the medium or the mindset. In retelling a celebrated case from Elizabethan England, Jill Dawson enters thoroughly into her characters’ religious world view, while giving a meaningful glance at the issues of today. The fate of the Warboys witches – three members of one family – was recounted in prurient pamphlets of the time, but Dawson colours in the crude woodcut of history with passionate emotions and plausible motivations. As she

Vanessa Salomon is an internationally successful translator. Clever, beautiful, privileged – ‘born in a trilingual household: French, English and money’ – she can indulge herself professionally with obscure, neglected books. About to embark on a forgotten nouveau roman by Alain Robbe-Grillet, she’s offered an irresistible assignment. A bestselling French novelist who is definitely not Michel Houellebecq wants to pay her an extravagant fee to translate his next book – before he’s written it. Vanessa accepts, and her life free-falls into a nightmare of dangerous, sadistic games, involving two possible Not-Houellebecqs, but which is the imposter? She herself is a very unreliable narrator. Bad Eminence is the American writer and musician