Success as a rare books dealer, academic, publisher, broadcaster and author of several non-fiction books — at 70, Rick Gekoski had ticked all the boxes. Time to relax, perhaps? Gekoski thought otherwise: he wrote his first novel, published last year, a quirky black farce mutating into a revelation of love and loss. Heaped with praise,
Lissa Evans has had a good idea for her new novel. It’s ‘suffragettes: the sequel’. She sets her story not in 1918 but in 1928. Two washed-up spinster suffragettes in their sixties, Florrie (known as ‘the Flea’) and Mattie, live together platonically in a house in Hampstead known as the Mousehole, because it used to
‘Much of what I say may turn out not to be true.’ Hardly the ideal beginning to a guided tour. But Alex Kerr is not your typical tour guide, briskly selling a place to a time-pressed group via a few must-snap essentials — the glint of the sun off Kyoto’s Golden Temple and its still
Jonathan Raban was largely responsible for changing the nature of travel writing. Back in the 1970s when he began, the genre still viewed the world from under the tilt of a Panama hat. (‘I looked at the tops of the columns. Were they Doric or Ionic?’) It was considered as ill-bred for a writer to
Sofka Zinovieff’s new novel, Putney, is an involving, beautifully written, and subtle account of an affair in the 1970s between Ralph, a composer in his thirties, and Daphne, a young girl, who is nine when she is first encountered: ‘Flitting, animal movements; narrowed, knowing eyes; dark, tangled hair; dirty bare feet.’ Enchanted by this creature,
All good non-fiction writing shares certain characteristics: consistent economy, upbeat pace and digestible ideas that logically flow. Tech writers have an additional challenge, however, of combining all this with boring technical detail. How to explain the mechanical stuff without being either too dry or too simple? What’s the reader’s likely level of knowledge? These questions
It is tempting to compare two highly intelligent, learned and gifted young Dublin writers, suffering under the burdensome, Oedipal influence of James Joyce, struggling to have their first novels published in the late 1930s. Samuel Beckett’s Murphy, whose central character is an extremely idiosyncratic young man in the grip of profound indolence, was published in
Varlam Shalamov’s short stories of life in the Soviet Gulag leave an impression of ice-sharp precision, vividness and lucidity, as though the world is being viewed through a high-resolution lens. His subject matter, as well as his complete lack of sentimentality, means that much of what is brought into focus is horrifying or pitiful. Yet
Willa Drake’s second husband calls her ‘little one’, even though she is over 60 and the mother of two grown boys. After a troubled childhood in Lark City, Pennsylvania, she married at 21, stopped studying after her first pregnancy and was widowed with teenage children when her first husband was killed in a road-rage incident
Katharine Kilalea is a South African poet who has written a startlingly good first novel. OK, Mr Field (Faber, £12.99) is the haunting story of a concert pianist whose wrist is fractured in a train crash. On a whim, he uses his compensation money to buy a house that he has only seen in pictures.
Few twists of political fortune are as discombobulating as the youngest child making off with the family inheritance. Richard III, George W. Bush, Ed Miliband: monsters all three. Sophia, Electress of Hanover — bright, lively and self-indulgent — left a no less divisive legacy. The 12th child of an exiled Mittel Europa princeling, Sophia had
The problem with writing about writers — and a particular blight on the current vogue for autofiction — is that writers do not necessarily live very interesting lives. Wrangling with editors, hatereading your rivals, making coffee and (occasionally) typing are all consuming occupations, but not the stuff of prepossessing narrative. That, at least, wasn’t an
There is a long and noble history of books about doing nothing. In the 5th century bc the sage Lao Tzu argued that the wise man should refrain from action, and Christ’s Sermon on the Mount also told us not to bother ourselves overmuch: ‘Consider the lilies of the field, they toil not.’ For Christ,
It is easier to say what this book is not than to describe what it is. It is not a biography, nor a work of musicology. As an extended historical essay it is patchy and selective. It is partly about pianos and pianism, but would disappoint serious students of that genre. It is not quite
‘Myshkin’ wants ‘a tiding ending’ to his life and has settled down to write his will. An ageing Indian horticulturalist, his childhood nickname (after Dostoevsky’s protagonist in The Idiot) remains. It is the first sign that this is a novel about people out of sync with their times and their surroundings. Abandoned by his mother
When I picked this book up, I already loved it — or at least I loved the idea of it: heroic sporting underdogs, a new coach with nothing in common with his players, and the forging of an indestructible bond of comradeship, all topped off by success on the world stage. But I felt trepidation
One day in December 1908, a wealthy 81-year-old spinster named Marion Gilchrist was bludgeoned to death in her Glasgow flat. Miss Gilchrist, who lived alone with her maid, was an obsessive collector and hoarder of jewels, which she hid among her clothes. There was no sign of a forced entry, but a valuable diamond brooch
Tim Winton’s novel about a journey of teenage male self-discovery is raw, brutal and merciless. You need to be familiar with Australian vernacular to appreciate the first-person narration by the young protagonist who says he is 17 but is thought to be ‘more like 15’ by an old renegade Irish priest he meets in the
‘I think you’re an adult when you can no longer tell your life story over the course of a first date,’ says Glen David Gold. I emerged from his weighty memoir feeling more like I’d been through a marriage: sadder, wiser, still sifting the decades of detail for the moments when a little self-awareness could
The true tragedy of the last Romanovs was a failure of imagination. Both during his last disastrous months in office and throughout the slowly unfolding catastrophe of his imprisonment, Nicholas II failed to conceive of how quickly the world around him could change, or just how desperate and ruthless the revolutionaries could be. A similar