Adam Begley

Ian McEwan delivers pleasure on the page with the ticktock reliability of an expensive Swiss watch. Even the lesser novels are immaculately written and cleverly plotted, full of provocative ideas, captivating characters and compelling incidents. In the better novels, he achieves a kind of elevated self-awareness, a supercharged intelligence that gives the fiction what feels

In italics at the very end of the preface to Slouching Towards Bethlehem (1968), Joan Didion spills the beans: ‘Writers are always selling somebody out.’ It’s hard to improve on that, but we can at least specify that she had journalists in mind, not poets or novelists, though probably she looked on all scribblers with

You have to love a book about the end of the world in which the first two references are to Saul Bellow’s Herzog and the HBO series The White Lotus, a high/low combo that preps us for authorial omniscience. In the next few paragraphs we get Marc Maron, Sally Rooney and Frank Kermode. Buckle up,

It’s been said again and again but rarely so plainly illustrated: American life is now too berserk for fiction to keep up. Tim O’Brien’s wild, rollercoaster satire America Fantastica is as wacky as its title suggests; but it can’t compete with the daily trainwreck that calls itself the land of the free and the home

The first rule in John Updike’s code of book reviewing is: try to understand what the author wished to do and do not blame him for not achieving what he did not attempt. I should therefore not blame Laurence Leamer for failing to capture in Capote’s Women any sense of what made Truman Capote irresistibly

We all live with boundaries, but few of us feel that as keenly as Jenny Erpenbeck, who grew up in the Pankow district of East Berlin, a stone’s throw from the Wall. Now a leading novelist of a unified Germany, she explained several years ago that when the Wall came down in 1989 and the

A man is driving alone across America, under the passenger seat is an envelope containing a large chunk of cash. For reasons unclear, he’s desperate to erase himself; he avoids surveillance with the inspired agility of the truly paranoid. His urge to disappear, ‘to leave as illegible a mark as possible on the Earth’, leads

Adapt or die. That brutal Darwinian dictum is too blunt to serve as the motto of Dinosaurs, Lydia Millet’s slim, quietly powerful 12th novel, but the threat of extinction, implicit in the title, hovers in the air. Bird-obsessed – our feathered friends are ‘the last of the dinosaurs’ – the novel tracks two years in

One could compile a fat anthology of tributes to Marcel Duchamp’s charm – especially what one friend called the artist’s ‘physical fineness’ – but it would be hard to top Georgia O’Keeffe’s memory of their first meeting: Duchamp was there and there was conversation. I was drinking tea. When I finished he rose from his

Twenty years ago The Corrections alerted a troubled world to the talents of Jonathan Franzen. Though cruel and funny and aggressively clever, the novel did more than display its author’s spiky brilliance. A stubborn moral core, in the person of the ailing patriarch of the Lambert family, and a tangled web of fierce emotion binding

New York in a nutshell? No way. New York in a New York minute? Forget about it. The city contains multitudes: it contradicts itself, wantonly. Any attempt to summarise will fail. Not even Craig Taylor’s delightful cacophony of voices, dozens and dozens of them spilling their New York stories, can compass its vastness and variety.

The problem with telling stories about Harvard is that Harvard, if it teaches anything these days, teaches distrust of stories. So, for example, two thirds of the way through Becky Cooper’s long, ambitious book about the murder of a Harvard graduate student, the author explains that ‘we’ — those attempting to fashion a narrative about

As his biographer, I feel obliged to quote John Updike’s wise sayings — among them the first rule in his code for book reviewers: ‘Try to understand what the author wished to do, and then do not blame him for not achieving what he did not attempt.’ Too bad about the gendered pronoun; otherwise, spot

Elaborated over a writing career that spans half a century — a career crowned with every honour save the Nobel Prize — Don DeLillo’s great project has been to explore a world where paranoia is not only warranted but healthy, a sane response to imminent threat, man-made or otherwise. He didn’t win the Nobel again

You can’t say he didn’t warn us. In the final sentence of his previous book, Heat, a joyously gluttonous exploration of Italian gastronomy, Bill Buford announced that he would be crossing the Alps: ‘I have to go to France.’ And here he is, in Dirt, another rollicking, food-stuffed entertainment, determined to unearth, as it were,