Romance

The Möbius Book has been variously described as ‘a hybrid work that is both fiction and non-fiction’ and a ‘memoir-cum-novel’. Catherine Lacey herself asserts that it is a work of non-fiction, but with a qualifying ‘however’. It comprises two narratives, first- and third-person, and is published to be flipped 180 degrees. Ali Smith’s How to be Both had a similar format, as did Mark Danielewski’s Only Revolutions. All three force the reader into making a choice and living with the consequences. This is not cosmetic, as The Möbius Book is about decisions and repercussions. Lacey writes in the aftermath of two break-ups: a romantic one with a man referred to

You can learn a lot about a winemaker by tasting his wine. In The Accidental Connoisseur, Lawrence Osborne wrote of one wine that smelt of ‘simmering insanity’, reflecting the angry Italian who made it. I didn’t have quite such an extreme reaction to Peter Hahn’s Clos de la Meslerie Vouvray, but I did deduce that he was idealistic, determined, romantic, perhaps a little dogmatic, and given to certain esoteric beliefs. Having now read his book Angels in the Cellar, I can say that my deductions were mostly right. Hahn is an American whose career as an investment banker came to an end when he suffered a breakdown in the back

In the early 1960s, glimmers of change start to appear in the Irish ‘backwater’ parish of Faha. A smuggled copy of Edna O’Brien’s banned The Country Girls is read surreptitiously by the doctor’s daughter, Ronnie Troy; a photograph of John F. Kennedy, the first Catholic president of the USA, hangs proudly on the postmistress’s wall. But in the main the rhythm of life persists much as it has for generations. Like Ronnie, Niall Williams clearly feels that Faha represents ‘the full of humanity, in its ordinary clothes’, since Time of the Child is his third visit to the fictitious County Clare village, following History of the Rain and This is

An earworm from the time of Covid: the sound of Connell and Marianne having breathless sex, bedsprings squeaking. I’m talking not about 2020’s hit TV adaptation of Sally Rooney’s bestselling second novel, Normal People but about the relentless piss-take featured on BBC Radio 4’s Dead Ringers. After every few skits the show would cut to an audio clip of the two undergraduates going hard at it. The joke was in the repetition – an exaggeration of the extraordinary density of earnest sex scenes in Rooney’s writing. It was crude, cruel and very funny. There is a wider than usual gulf between the writer Rooney wants to be and the writer

Stories and films set in stately homes continue to fascinate us, and Lissa Evans’s latest novel is likely to increase our appetite. It is 1945, and Dimperley Manor, the large, dilapidated home of the Vere-Thissetts near Aylesbury, has been almost emptied of its wartime evacuees. Only the widowed Zena Baxter (who adores Dimperley) and her small daughter remain, and the place has become a millstone round the neck of the heir, Valentine. The new baronet is expected to marry a rich bride to save his ancestral home. The nation, battered and bloodied, has just voted overwhelmingly for Labour. Is it a new dawn or a disaster? All this might seem

When the author and podcaster Viv Groskop first visited Ukraine, she travelled there from Moscow, on a long train that ran eventually beside a field of sunflowers. They were, she recalls in her lovely and modestly scaled memoir, like a ‘blast of sunshine screaming: “Welcome to Ukraine! You are no longer in Russia!”’ The year was 1994, and Groskop had been in the former USSR for a little under a year. A modern languages undergraduate at Cambridge, she had decided to take her year abroad in St Petersburg. Until she got there, she had barely thought of Ukraine. It was one of a bunch of newly independent states; it hadn’t

Zip up Heathcliff in Gore-Tex, give Cathy laugh-out-loud lines, fold in the poignancy of E.M. Forster, embed quaint maps, blisters, a dash of existential terror and heaps of heartache and you have David Nicholls’s latest novel. If Nicholls’s One Day (recently adapted for Netflix) is a bildungsroman, then You Are Here explores learning to love again later on in life. In One Day we had Emma and Dexter, and here we have Marnie and Michael. Michael is a 42-year-old geography teacher living in York, and Marnie is a 38-year-old proofreader from London. Both have endured the casual cruelty of broken marriages and have withdrawn into themselves to avoid future hurt.

One evening, a man and a woman who haven’t met for decades bump into each other at the Metropolitan Opera in New York. It’s a familiar tale, but one to which Roxana Robinson brings many twists in her highly enjoyable latest novel, Leaving. Sarah and Warren were childhood sweethearts in a suburb outside Philadelphia. Sarah was uncertain, made biddable and cautious by cool, judgmental parents. Warren was bold and full of ambition and crazy-sounding dreams. They proved too much, too threatening, for the timid Sarah and she married a man she thought a safer bet. It turned out to be a mistake. Rob, who has electric blue eyes and an

There is not going gently into that good night, and then there is teetering into it on spiked-heel boots while strapped into a leather corset in search of clandestine kicks among like-minded fetishists. If it sounds an exhausting and chilly way to spend an evening, well, it is. At least, that’s how it feels to Sam Quaid, the middle-aged playwright who is beset by misgivings – he himself is dressed in ‘the more chicken-hearted guise of a fallen Quaker who had never seen the sun’ – but gamely determined to accompany his lover, Lily. Where is Sam’s obeisance going to lead him, or Lily? Here is where the novel becomes

The discovery of a cache of long-lost love letters might be an over-familiar inspiration for a memoir, risking a bit of a dusty lane indulgence – a charming, nostalgic featherbed flop into a past romance. But although the events described by this delightful nonagenarian first-time author took place three-quarters of a century ago, there is nothing sepia-flattened about Gill Johnson’s writing. This is a book which shimmers with remarkable recall as the author returns us to the post-war vibrancy of Venice and the dazzling inhabitants who transformed her young life. The youngest of four children, Gill reached adulthood in Blitz-scarred, rationed 1950s London. She shared a depressing, claustrophobic Westminster flat

Quintus, an Ephesian slave, is in attendance on his master, Sextus Julius Frontinus, the Roman governor of Britain, when Cunicatus, the chief of one of many warring tribes in ‘this hideous island at the edge of the world’, seals a marriage alliance between Frontinus and his daughter, Olwen. She, however, rejects the match, escaping from the camp at dead of night and impulsively asking Quintus to accompany her. Despite having seen a recaptured fugitive in Gaul torn apart between four horses, he agrees to go. Tim Pears’s Run to the Western Shore follows the pair as they flee through south Wales, hotly pursued by Frontinus’s legionnaires. They encounter a host