Caroline Moore's take on the new book from Peter Carey
Peter Carey’s fictions are like a powerful old-fashioned car driven with the modernist hand-brake on — revved-up narrative that stutters, stalls, leaps in unexpected spasms.
With a less good writer this would be intensely annoying. Carey runs through many of the tricks of post-modernism — the tricksy shifts, the dislocations of chronology and viewpoint, the refusal to allow the reader the common courtesy of speech-marks, which might make it altogether too easy to know what is going on — yet, time after brilliant time, he carries it off (sometimes better than others; but this is one of his best). His tricks move beyond mere trickiness.
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Allan Massie remembers 1968
Sam Leith on a joint critical study of Kingsley and Martin Amis
Alan Judd reads James Griffin's account of human rights
Cressida Connolly on Julia Blackburn's family memoir
Ian Garrick Mason on the new book from Anthony Pagden
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