Hot on the heels of The Penelopiad, Margaret Atwood’s retelling of the story of Penelope and Odysseus, comes The Tent, a neat, must-have little volume with scarlet endpapers, a silky marker and Atwood’s own illustrations — devilish red dogs and Egyptian-looking ladies. And inside The Tent? A splendid mix of tales, retellings of myths, fables
It’s irrelevant, I know, but I can’t help wondering what it was like living with D. J. Taylor while he was writing this opus. It’s so steeped in Victoriana and (as Taylor acknowledges) in the fictional worlds of Dickens, George Eliot, Thackeray, Trollope and co. and it’s so big that I picture him emerging into
I’d like to defend Joyce Carol Oates —she’s had so many rotten reviews of this, her latest novel. Reviewers, I reason, must get tired of a writer who publishes a novel a year (Mother, Missing is Oates’s 44th) and seek something snide to say like ‘time to slow down’ (the Guardian) or ask, like Patrick
‘Every true writer becomes a writer because of a profound trauma experienced in youth or childhood,’ wrote Amos Oz in The Silence of Heaven, his study of the work of the Israeli Nobel-prize winner Shmuel Yosef Agnon. With reservations, he added, ‘We might venture to say that the flight of the narrator’s imagination is as
I was bemused by this novel — a first from Katherine Bucknell, better known as an editor of Isherwood’s diaries and of Auden studies. In its concentration on houses (in London and Virginia) and their furnishings, I kept thinking of Henry James and such novels as Portrait of a Lady and The Spoils of Poynton
I could tell you about Graham the man, the hard-drinking, wild and wayward Scots poet who spent most of his life in Cornwall among the artists of St Ives, but I hear his voice in my head saying, ‘Tell them about the poems’. So I will. Graham’s are the most talkative poems of the 20th
Reviewing this novel in 1946, when it was first published, Rosamond Lehmann described it as ‘a work of great originality … a blend of fantasy, satire and romantic comedy’. Persephone Books — an imprint dedicated to reprinting forgotten classics by 20th- century women writers — have re-issued it in their now characteristic and classy plain
My partner wanted to leave the dustwrapper of this book at home. He denied my suggestion that he didn’t want to be seen reading it on the train, claiming it was just his natural care for books. Anyway, he’s been quoting from it ever since, though his choice of quotes and mine are possibly Mars