Fiction

The BBC adaptation of Philippa Gregory’s The White Queen, which began last Sunday, has led numerous books editors to pick their 10 best historical novels. I played this silly dinner party game last year (although I forget the inspiration). And, while admitting that it was nigh on impossible to pick 10, I came up with: J.G. Farrell’s Empire Trilogy Paul Scott’s The Raj Quartet Charles Dickens’ A Tale of Two Cities Evelyn Waugh’s Sword of Honour Patrick O’Brian’s Master and Commander Robert Graves’s I Claudius JM Coetzee’s Disgrace Alexander Solzhenitsyn’s A Day in the Life of Ivan Denisovich Pat Barker’s Regeneration Guiseppe Tomasi di Lampedusa’s The Leopard There were some

Nothing in Bryan Appleyard’s Bedford Park betrays the fact that it is his first period novel: not its deft characterisations, its virtuoso dialogue, its dry and economical wit, or its choice of a narrator and material quite outside the author’s own experience. The 19th century is closing and the 20th is opening in a London seething with foreign sedition and the antics of its own wayward men of genius. The enchanted suburb of Bedford Park, a baroque gem created in 1875 as part of an architectural counter-revolution and renewal, houses W.B. Yeats and the novel’s narrator, Calhoun Kidd.  Kidd has fled Chicago and his domineering father. However, he enters London

I was on a train when it happened. I was bent double with my head between my knees, gasping for air and unable to speak. The Surrey matriarch sitting opposite leant forward to ask me if she could help. I imagine she thought that I was choking, or perhaps suffering cardiac arrest. In fact, I was laughing. Laughing so hard I couldn’t stop. And the more I wanted to stop, the worse it got. It was painful. My lungs rasped and the muscles in my sides contracted of their own free will. I was no longer master of myself, so you might say that I was in ecstasy. It was

AM Homes’ May We Be Forgiven has won the Women’s Fiction Prize, beating a strong field that included Hilary Mantel, Zadie Smith, Barbara Kingsolver and Kate Atkinson. Homes, who is an American writer, is something of an unknown in this country (certainly compared to Smith and Mantel). On receiving the prize, she said, ‘it’s my nature to think about big ideas and my gender shouldn’t prevent me from doing that.’ Her work concerns modern America. Sleepy academic types are disturbed. The normal vanishes. Homes has been compared to Jonathan Franzen, among others. Click here to find out if the comparison is an insult to Homes, an insult to Franzen, or simply a fair observation.

There is a question which writers (and readers) of literary fiction get tired of hearing: which bits really happened? The traditional and respectable answer is that this doesn’t matter. Everything in the book will have been transformed by art, and isn’t something that comes straight from an author’s imagination more autobiographical, more telling, than things that might have happened to them, anyway? But these serious maxims don’t always quell your desire for real-life incident or gossip. Sheila Heti’s How Should A Person Be, subtitled ‘A novel from life,’ had me googling paintings by Margaux Williamson: Heti’s best friend in real life and a character in her book. How Should A

The Great Gatsby is one of those great works of literature, like Pride and Prejudice, that appeals as much to the general reader as to the literary bod. It’ll always be around, if not as a movie (there have been five since its publication in 1926) then as an opera or a ballet. Last year a staged reading ran for weeks in the West End, to critical acclaim. It is a short book — a long short story really — about wealth and sex and hope and disillusion and partying. These are the themes, too, of the lives of its author and his wife Zelda. Theirs was a relationship that

Tan Twan Eng’s first novel was long-listed for the Man Booker Prize, his second was shortlisted and then won the Man Asian Literary Prize. To say that his work over the past five years has received praise and attention would be something of an understatement. Likened to Ishiguro and Ondaatje, his work explores the point at which untold personal history collides with the bellicose history of mid-twentieth century East Asia. In The Gift of Rain the elderly Philip Hutton is living out his days as a postcolonial remnant in his childhood home of Penang, with little but his memories to keep him company. These are revisited with arrival of Michiko,

Chaplin & Company is an alarming proposition for anyone with a low threshold for the cute and quirky. Its main character, Odeline Milk, is a mime artist. She is serious and eccentric. In bed she lies on her back ‘as if she has been arranged this way and told not to move’. She wears brogues several sizes too big for her feet. When we meet her, she is moving into a canal boat in London. Her mother, with whom she lived in Arundel, West Sussex, has just died. Odeline does not dwell on this. Instead she is thinking about her new life. In London, she thinks, her artistic endeavours will