Set in 2020, this has been described as a work of ‘futuristic’ fiction. Most such fiction — Forster’s The Machine Stops, Orwell’s Nineteen Eighty-four, L. P. Hartley’s Facial Justice — describes a world radically different from the one familiar to people at the time when it was written. However, in The Eagle’s Throne the fact
Although writers in languages of lesser currency suffer a cruel disadvantage when striving to establish themselves on the international scene, the Albanian novelist Ismail Kadare has succeeded in leaping that hurdle by the extraordinary athleticism of his writing. Translations of his novels have appeared in more than 40 countries, and in recent times he has
From her earliest years, one attribute dominated Bernice Rubens’s life: passion. It fuelled her impressive books, her personal relationships and her reactions to the world around her. It expressed her innate generosity of spirit, but could also deprive her of the ability to consider any viewpoint contrary to her own. Of such passion there is
Anthony Burgess was someone whose accomplishment as a fibber far surpassed even that of such formidable rivals as Laurens van der Post, Lilian Hellman and Patrick O’Brian. What made fibbing particularly perilous for Burgess, as for most fibbers, was that he rarely remembered his fibs. In consequence they varied widely from telling to telling. The
The bitterness of the immigrant experience, the tumultuous coming of independence to a former British colony, forbidden love and miscegenation within a close-knit Muslim community: dominant themes of Abdul-razak Gurnah’s former novels are gathered together in this one. Since, though not abnormally long, his book ranges over such a wealth of material, there are inevitably
There are eerie parallels between the career of the author of this all too brief masterpiece and that of Nicolai Erdman, whose play The Mandate recently opened at the National Theatre. Novelist and playwright both achieved acclaim for pugnaciously satirical works produced in the mid-Twenties, a period of extravagant experiment in the Soviet Union. Then,
At the start of this sixth and final volume of Ferdinand Mount’s novel sequence A Chronicle of Modern Twilight, the narrator Aldous (Gus) Cotton is about to take premature retirement from the Civil Service, having found, to his chagrin, that he has been passed over for the promotion that he thought to be his due.
This diptych of a novel starts with a surprise. Margaret Drabble’s fame rests largely on fiction dealing with social issues in contemporary Britain. But here she has taken real-life intrigue, madness and murder in 18th- century Korea as the subject for the first half of her book. Her inspiration, Drabble tells us, came from a
In the summer of 2001 Sofka Zinovieff accompanied her husband, Vassilis — first met when he was press officer to the Greek embassy in Moscow — on a posting back to Athens. This book is both an account of her enthusiastic, if often balked, attempts to transform herself into a Greek, and a vivid evocation
A preliminary riffle through this novel is not all that encouraging. Three pages of spoof Acknow- ledgments (‘some of them are dead; most of them are strangers; the famous are not friends’) range from Graham Swift to Jonathan Swift and from Stevie Wonder to Ralph Vaughan Williams. There is a spoof Preface and a spoof
When Count Mikl
Sprawling, teeming with people and flooded with an almost malevolent brilliance, this book is the literary equivalent of some vast conurbation. As with a conurbation, it is difficult to identify the heart – and heart here means not merely centre but humanity. Trapped, as in one of Mark Gertler’s most famous pictures, on a constantly
The first four pages of this novel arouse the highest expectations. Some walkers in the Snowdon area stare up at the boilerplate slabs of a crag up which, far above them, a figure is climbing. He is neither carrying the special equipment nor wearing the protective gear usual for a project so dangerous, and he
Like most human beings, most novelists are neither outstandingly good nor outstandingly bad. This poses a problem for reviewers. A good novelist can write interestingly about mediocre characters; but even a superlative reviewer may find it difficult to write interestingly about mediocre novels. In consequence, reviewers all too often rush to the extremes of proclaiming
If Kafka had never existed, critics might now be using the word Warneresque, instead of Kafkaesque, to describe the sort of fiction represented by the three remarkable early novels for which Rex Warner is now chiefly remembered. But then, if Kafka had never existed, perhaps The Wild Goose Chase, The Professor and The Aerodrome would