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Book Bites: 2 July 2017

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Find MeFind Me
JS Monroe (Head of Zeus)
Book thrill
****
Intelligent, fast-paced, and intriguing, Find Me is an excellent thriller in the classic English mould, written by Cambridge graduate and freelance journalist JS Monroe. Dubliner Jarlath Costello is a promising writer who works as a click-bait journalist for an entertainment site. He falls in love with Rosa, a brilliant young student, and he cannot recover from her supposed suicide. Then two things happen to change his life: he starts seeing Rosa, and he receives her encrypted diary – which he has decoded. But her death still makes no sense and since her body was never found, Jarlath is convinced she is still alive. His investigation reveals more than he, or the reader, ever suspected. – Aubrey Paton

A Dangerous CrossingA Dangerous Crossing
Rachel Rhys (Doubleday)
Book fling
***
The Great Gatsby goes to sea in Rhys’s genteel A Dangerous Crossing. On the brink of Britain entering World War 2, Lily Shepherd flees bad memories and sets off to Australia to take up domestic service and begin again. Life at sea is unique; class lines blur and allow people to act out fantasies in a way they’d never dare to while on land. Aboard the ship, Lily is quickly swept up by dashing new friends, brimming with wealth and fabulous clothes. Together, the odd menagerie of pals have grand adventures while guarding many secrets. But with the murder of two passengers, Lily is to discover that there is much tarnish behind the glamour of the upper class. – Tiah Beautement @ms_tiahmarie

Here and GoneHere and Gone
Haylen Beck (Harvill Secker)
Book thrill
****
I love thrillers that have been recommended by Lee Child. He doesn’t praise many, but those he chooses are winners. This is no exception. Audra is running from New York, her abusive husband and the possibility of losing custody of her children to him. She runs before the judge can rule. In Arizona, she is pulled over by a shady sheriff who finds marijuana in her car and arrests her. Her 11-year-old son and three-year-old daughter are taken by a deputy to a “safe place”. So intense, this book never lets up. Like Audra, the reader can only really breathe at the end. – Jennifer Platt @Jenniferdplatt

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Acts of useless beauty: Bron Sibree talks to Tim Winton about his new memoir The Boy Behind The Curtain

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The Boy Behind the CurtainThe Boy Behind the Curtain
Tim Winton (Picador)
*****

Tim Winton refers to his new memoir, The Boy Behind the Curtain, his 28th book to date, as a midlife “looking over the shoulder”. Yet it’s difficult to conceive of more a revealing work from a novelist so revered by his fellow countrymen, but so renowned for shunning the limelight. It is a companion volume to his 2015 non-fiction meditation on the role of Australian landscape on his own fiction and that of the Australian psyche, Island Home.

Yet, this collection peels back the curtain on his life as a man and a writer in far more revealing ways. It also surprised Winton with what the book unveiled. “What sticks out for me,” he says, referring to a body of work that has earned him two Booker Prize shortlistings, “is just how unlikely it all is, having come from this modest, working-class background where no one had ever finished school”.

He writes of his sadness that members of his family remain illiterate in a chapter in The Boy Behind the Curtain, that also probes his concerns about the growing divide between rich and poor. For this is no conventional memoir, but a series of profoundly personal essays in which the 56-year-old author of such novels as Eyrie, Breath, Cloudstreet, Dirt Music and The Riders, attempts to make sense of the world, his childhood and the unconscious patterns of his fiction. “You are drawing on real stuff as a fiction writer whether you know it or not, so it’s me trying to acknowledge and also make plain some of those strands that make up the rope.”

Some of that rope’s most significant strands are those of his childhood. The book takes its cues from its titular chapter in which Winton recalls himself before he found words: a troubled, inarticulate 13-year-old who took to aiming his father’s .22 Lithgow rifle at “innocent passers-by” from behind the curtains of his parent’s bedroom. “When I think of that kid at the window, the boy I once was,” he writes, “I get a lingering chill.”

In another he recalls his fears as a nine-year-old, clinging to the steering wheel in the aftermath of a road accident in which his traffic cop father gave his son a job to do while attending an injured motorcyclist. Winton was an adult before he realised his fears related to an earlier traffic accident: one in which his father had been so badly injured that then six-year-old Winton felt he’d been robbed of the father he knew. “That scene,” he reveals, “has puzzled me all my life. Haunted me, in a way.”

That those childhood events remain so resonant in his life and work also surprised Winton . “To recognise myself as the little boy still clinging to the steering wheel, and also to recognise in this long-ago boy holding the gun behind the curtain, that he’s been and gone in one sense, but he’s still present. The people that you’ve been in your life are still with you. They still inform you and you have to be mindful of them, learn from them and not pretend that they’re not there.”

Then there is his obsession with “useless beauty” as he describes his passion for the natural world. “I realised late in life, just from surfing, that in indulging in all those thousands of mornings and afternoons surfing, I was essentially indulging in acts of useless beauty.”

He writes of his abiding need to tap into the power of the ocean in a dance he calls “the wait and the flow” in this memoir. And to read it is to swim marginally, fleetingly, closer to comprehending the miracle of Winton ’s preternatural ability to harness the power of the natural world to the page. For he writes just like he surfs. “And the feeling is divine.”

Follow Bron Sibree @Bron Sibree

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Book Bites: 9 July 2017

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The Sun In Your EyesThe Sun In Your Eyes
Deborah Shapiro (HarperCollins)
****
Book buff
This story of a complex friendship between two women comes spangled with praise from American critics. Years after leaving college, Vivian and Lee set off on a road trip to untangle the great tragedy of Lee’s life: the death of her father, Jesse Parrish. Lee was still small when Parrish, a leading singer/songwriter, died in a car accident. His life and death have become mythical, especially as the tapes of the album he was working on disappeared on the night of his death. Lee’s whole life has been burdened by his memory and it is time to deal with it once and for all, and to sever, or renew, her foundering relationship with Vivian. – Michele Magwood @michelemagwood

Reservoir 13Reservoir 13
Jon McGregor (Bloomsbury)
****
Book biff
Fans of Jon McGregor know he is a painter who uses words rather than watercolours. Reservoir 13 is a portrait of English village life. A collection of everyday people whose everyday lives are shifted and haunted after a 13-year-old girl vanishes while on holiday with her parents. Each chapter begins a new year, with the characters slowly moving forward. It is we human beings who exist in routines that tend to alter at a gradual pace with age. This book is a work of art for readers who read for the pleasure of words and do not require tidy narratives with no loose ends. This novel is an echo of life. – Tiah Beautement @ms_tiahmarie

The Secret History of Twin PeaksThe Secret History of Twin Peaks
Mark Frost (Macmillan)
****
Book thrill
Twin Peaks – the TV series by David Lynch and Mark Frost – aired in 1991, and we were introduced to the town of Twin Peaks, the murder of Laura Palmer, and the cultish strangeness surrounding the killing. In 2016, 25 years after the series was aired, Lynch and Frost have collaborated on another season, and writer Frost has brought out his third book in the franchise. Presented as a dossier of FBI documents, photos, letters, newspaper clippings, and transcriptions, which may – or may not – elucidate the new series. But it’s pretty damn good, as Special Agent Cooper might say. – Aubrey Paton

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Jacket Notes: Abubakar Adam Ibrahim discusses the characters in his award-winning novel Season of Crimson Blossoms

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Published in the Sunday Times

Season of Crimson BlossomsSeason of Crimson Blossoms
Abubakar Adam Ibrahim (Cassava Press)

Sometimes characters walk into your mind like visitors that come with their mats, spread them out and settle down to enjoy the shade. Some stay for a short while, others stay for years. Some come in through the front door, but others, like Hassan Reza, scale the fence.

When I had persistent visions of Reza scaling a woman’s fence to rob her, but then accidentally bumping into her, I knew I had to write about these two people and the convergence of their very diverse lives. Him, 25, rascal, weed dealer, political thug and head honcho of a band of miscreants; and her, Hajiya Binta Zubairu, 55, mother, grandmother, devout Muslim and all-round good person.

What was supposed to be a simple tale evolved into something far more complex, surprising me with its range and scope.

How does one write about a chaste grandmother having a sexual relationship with a thug in a conservative Muslim community in northern Nigeria? How does one use a story like this, completely out of character with the literature that has depicted the people of this part of the world, to say important things and explore our shared humanity?

In writing I essentially relied on my characters. I followed them and recorded their stories. When I wanted to lead them, usher them down a path, they resisted. And so we had tug-of-wars that lasted days, weeks and sometimes months – we fought and gave each other the silent treatment. Some people call this writer’s block. Eventually we made concessions and moved on, reaching the finish line after four years.

And I fell in love with them, these characters. I worried about how it would be possible not to view Hajiya Binta as a cougar for taking up with a disreputable thug. And, not being overtly fond of writing sex scenes (those things are hard), I fretted about how much detail I should include.

What I completely underestimated though was how much people ended up liking Reza, the thug. Many people, mostly women, old and young, have accosted me over this character, demanding more details beyond what is conveyed in the book.

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SA’s young readers beat world’s best at Toronto final

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South African winners of the World Final of the global Kids Lit Quiz in Toronto, Canada – (L to R) Joshua Bruwer, Khelan Desai, Sahaj Mooji and Hongjae Noh.

 
A team of four South African boys has won the World Final of the global Kids Lit Quiz in Toronto, Canada – an event widely known as ‘the Olympics of reading’.

The boys, learners at St John’s Prep School in Johannesburg, emerged victorious against teams from Australia, Canada, Hong Kong, New Zealand, Singapore, the United Kingdom and the United States at a thrilling event at Toronto’s Oakville Performing Arts Centre.

According to Wayne Mills, the New Zealand-based quizmaster and founder of the Kids Lit Quiz, the team performed well in each of the 10 categories of questions, gradually extending their lead to secure a convincing win.

Benjamin Trisk, CEO of Exclusive Books who sponsored the team in South Africa, expressed the book chain’s delight at the win. “We are thrilled to hear that St John’s College was the winner of the international Kids Lit Quiz held in Toronto. St John’s is one of South Africa’s great schools. It has a stellar international reputation and we are proud that boys from this school have excelled in a specific field of the culture that drives us. Without passion, little can be achieved. With passion South African children have shown that they can compete with (and beat) the rest.”

An elated Nicky Sulter, the St John’s Prep librarian and the school’s Kids Lit Quiz team coach, said the boys were ecstatic about their achievement.

“We are all over the moon!” said Sulter. “The boys have been incredibly enthusiastic about preparing for this event, and have really enjoyed all the reading that has gone into this victory.”

She highlighted how important it was for boys especially to be recognised for their interest and talent in literature.

“This annual event keeps the boys reading all year, whether or not they make it into the school’s Kids Lit Quiz teams,” she said. St John’s Prep enters two teams into the Johannesburg round each year.

In the World Final, Mills asks challenging questions on just about any children’s book ever written; this year’s categories included arch-enemies, historical fiction, Grimm’s fairy tales, poetry, authors and comic book characters. The high pressure competition uses a first-to-the-buzzer format where teams earn points for correct answers but lose points if they miss the mark.

According to Mills, an encouraging trend has been the growing numbers of boys in the teams, suggesting that more boys are reading from a younger age.

“Of the 32 participants in this year’s final, 24 were boys,” he said. “This is a very encouraging sign, and shows a reversal of the kind of ratio we had in the quiz about 10 years ago.”

The eight teams in the World Final fought a long, hard battle during the previous year to get to the final. They won their various national rounds, which collectively involved over 1 000 teams of young readers aged 10-12 years old. To earn its place in Toronto, the St John’s team had to beat 40 Johannesburg teams just to get through to the national finals, where it then had to face the winners of other city rounds in Pretoria, Durban, Pietermaritzburg, Knysna, Port Elizabeth and Cape Town.

Over 100 South African schools participated in this year’s Kids Lit Quiz, said National SA coordinator Marj Brown, HOD of History at Roedean School in Johannesburg.

“South Africa holds its own against the best in the world,” said Brown. “Since we joined the quiz in 2004, a South African team has now won the World Final on three occasions. It is an exciting and motivating event that really brings reading to life for thousands of young people and broadens their scope of reading.”

The quiz was started by Mills 26 years ago to reward good readers in the same way that schools recognise achievement in sport.

“With this international competition now representing so many countries, the participants are increasingly able to meet up with ‘kindred spirits’ from other cultures – joined by their shared love of reading,” said Brown. “This can only contribute positively to understanding and tolerance among people from a young age.”

Book Bites: 16 July 2017

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The CowsThe Cows
Dawn O’Porter (HarperCollins)
****
Book fling
It’s OK not to follow the herd. That’s the premise of The Cows, a powerful novel about three women judging each other, but also judging themselves and their ideas of children – wanting one, having one, and not wanting them. Tara, Cam and Stella are living their lives as best they can, but being constantly pressured to conform, they find it hard to like what they see in the mirror. When an extraordinary event brings them together, one woman’s catastrophe becomes another’s inspiration, and a life lesson to all. This is a surprisingly funny novel. – Nondumiso Tshabangu @MsNondumiso

Here Comes TroubleHere Comes Trouble
Simon Wroe (Orion)
***
Book buff
Kurt Vonnegut’s dystopian flair is reborn in Simon Wroe’s Here Comes Trouble. Kyrzbekistan, a fictitious Eastern Bloc country, is caught in the thrall of political turmoil that may sound all too familiar to many South Africans and Americans. As load-shedding seems to become permanent, troubled teen Ellis Dau attempts to rise to the occasion by restarting The Chronicle, his father’s independent press. Ellis’s humour (both intentionally and otherwise) is snort worthy. An excellent read for YA and new adult readers. Those over 30, however, may feel that they’ve heard this tale before, despite the fact we are living it today. – Tiah Beautement @ms_tiahmarie

The Last StopThe Last Stop
Thabiso Mofokeng (BlackBird Books)
*****
Book buff
Macko just managed to escape with his life after a bullet that was meant for him killed a child instead. His body may have survived but his mind is lost. He keeps seeing “things” and his stress is made worse by his dodgy taxi-owner boss and his money-grabbing girlfriend. Thabiso Mofokeng has done a sterling job of bringing to life the very real struggles of a taxi driver. It’s a poignant read and if you, like many, choose to forget the serious issues engulfing our country, this book will force them upon you. Thabiso, sir, never stop telling these very important truths. – Jessica Levitt @jesslevitt

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Curmudgeon dressed as Lamb: Sue de Groot speaks to crime novelist Mick Herron about his irascible antihero in Spook Street

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Spook StreetSpook Street
Mick Herron (John Murray)
*****

When Mick Herron wrote Spook Street – the fourth in his series of spy novels about a cluster of misfits in Britain’s intelligence service – the Westminster terrorist attack had not yet happened. Nor had the attacks on London Bridge, in Manchester and at Finsbury Park.

All these subsequent events make Herron’s plot even more eerily relevant. Spook Street begins with the bombing of a shopping centre in the UK. (“It lasted seconds, but never stopped, and those it left behind – parents and families, lovers and friends – would ever after mark the date as one of unanswered phone calls and uncollected cars.”)

There is a grim echo, in the deadly flash mob at Westacres “pleasure dome”, of JG Ballard’s dystopian Kingdom Come – but where Ballard’s work is queasily alienating, Herron’s is warmly human.

His characters are flawed and vivid, particularly Jackson Lamb, head of a team of MI5 oddballs nicknamed “slow horses” (their office is in Slough House) and one of the most irresistibly unpleasant men ever to let loose a loud fart.

Herron, who on the phone is thoughtful and polite and about as far from Lamb as it is possible to get, says he has a lot of fun writing Lamb’s political incorrect dialogue.

“It’s kind of a safety valve,” he muses. “Lamb says all the things that you know you can’t say in public – you wouldn’t WANT to say them, you would never want to address other people in the way that he does – but there’s a great deal of fun and mischief to be had in doing it in fiction and knowing that for all the nasty things he comes up with, he’s saying them for effect, to annoy people. If he was behaving like that without being aware of how offensive he was, and actually believed the things he was saying, then he would be a different kind of person entirely.”

Lamb, like all the best characters in fiction, has slipped the bonds of his creator’s keys and taken on a life of his own. Herron says he often wonders what lies beneath the irascible old spy’s obnoxiousness.

“I know that there are things in his past that I haven’t fully uncovered. A key line to his character, from a previous book, is ‘when the Berlin wall came down he built another one around himself’. And there’s a line in what I was writing just this morning [the fifth book in the series will be published in 2018] where one of the other characters says Jackson ‘spent half a lifetime going to battle for what he believed in, and the second half of his life revenging himself on a world that seemed to have screwed things up anyway’.

“I think there’s a great deal of disappointment and bitterness there, and being obnoxious is his way of coping with it all, but I’m not sure I want to uncover the exact reasons behind the bitterness. I think one can destroy a character by probing too deeply into the reasons why they are how they are. I think it’s more fun just to let them get on with it. I’m very much enjoying winding him up and watching him go.”

Herron has the same attitude towards the universe in which his plots play out. He can be prescient about the real world but does not set out to write social commentary. In Spook Street he writes that the mall attack became “a made-in-Britain version of all those headlines, which had shrunk over the years to a page-7 sidebar, about events in distant marketplaces. Nothing brought the meaning of ‘suicide bomber’ home quite so hard as familiar logos glimpsed through the rubble.”

Having previously written successful crime novels, Herron turned to the world of spying because he “wanted to look at a broader canvas. One of the things that drove me to that was the bombings in London, the 7/7 bombings, that brought home to me how these huge events impinge on the lives of all of us, and that you don’t have to be a particular expert to have an opinion and to write about that sort of thing.

“These things are now happening … it’s not unusual to pick up a newspaper or turn on the radio and find that something very like that has happened – it’s chilling, and it now seems to be an ever-present danger, so that’s what I wanted to write about, the fact that we have those dangers there among us all the time.”

His focus, however, is always on the story. “I’m a novelist, and I do want to entertain, and the fact that I’m drawing the source of my entertainment from the real world is obviously a very important part of it, but I don’t feel that I have anything especially to warn people about or to tell them about, I’m just writing about how I perceive things to be. I don’t think anybody’s going to learn very much from my books, I do hope they will be entertained, thrilled, maybe shocked occasionally.”

Who should play Jackson Lamb?
Given the growing popularity of Herron’s novels, there will undoubtedly be several screen versions of the world’s rudest spy. When it comes to the actor who would best portray Lamb, Herron says: “If we went right through anyone who ever lived, it would be Orson Welles in Touch of Evil (1958). Physically, I think he looks like Lamb in that film; and his voice tone would also be about right.”

Not so silent: Lamb quotes
“The next sound you hear will be me, expressing confidence.” He farted, and reached for the cigarette behind his ear.

“So you’re the boss of the famous Slough House,” Flyte said. “Isn’t that where they keep the rejects?”

“They don’t like to be called that.”

“So what do you call them?”

“Rejects.”

“That is quite possibly the worst cup of tea I’ve had anywhere. And I’m including France in that.” – All said by Jackson Lamb in Spook Street

Follow Sue de Groot @deGrootS1

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Book Bites: 23 July 2017

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Kill The FatherKill the Father
Sandrone Dazieri (Simon & Schuster)
****
Book thrill
Dante Torre always thought his life could be divided into before and after. During his 11 years as the abused hostage of a faceless man known only as the Father, every day was caged. After his escape, he seeks to help others and live as normal a life as possible. However, when detective Deputy Captain Colomba Caselli knocks on his door and asks for his help in a case involving the abduction of a child, Dante realises that perhaps there was no “after”. Italian crime writer Sandrone Dazieri is a master of the macabre, weaving a satisfying adventure and creating a sense of lingering paranoia. – Samantha Gibb @samantha_gibb

The Boy on the BridgeThe Boy on the Bridge
M.R. Carey (Little, Brown)
****
Book fiend
This is sort of a sidelong prequel to The Girl With All the Gifts. Not a sequel. But read Girl first and don’t panic when none of the characters is familiar. They become so quickly. Once again Carey writes with a light touch when it comes to the gore and the zombie/“hungries”. Once again there is a humane feeling of empathy with the lead character – this time an autistic boy, Stephen Greaves, who is supposed to save the world with the help of a bunch of scientists. Once again, Carey writes something that will become an important part of apocalyptic references. – Jennifer Platt @Jenniferdplatt

The Fire ChildThe Fire Child
SK Tremayne (HarperCollins)
***
Book fling
SK Tremayne follows in the grand tradition of the Gothic romance in which an isolated woman, an iffy love interest, and the welfare of a child make for compelling reading. In a whirlwind romance, Rachel from the “sarf of London” marries rich, handsome widower David and moves to his historic family mansion in Cornwall, where she lives with her delightful stepson Jamie. David is home only for weekends though, and Jamie changes, becoming remote and claiming his late mother Nina is going to return. Is Jamie hallucinating? Eerie, scary and compulsive reading. – Aubrey Paton

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A literary tap dance: Pearl Boshomane reviews Alain Mabanckou’s Black Moses

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Published in the Sunday Times

Black MosesBlack Moses
Alain Mabanckou (Serpent’s Tail)
****

The cliché that comes to mind after reading Alain Mabanckou’s Black Moses is “better late than never”, because I had previously never heard of him or his works. And I’m glad that I’m tardy to the party rather than never having cracked an invite at all. The novel, which made the Man Booker longlist, is a delicious read – even if its premise is a tragic one.

The Black Moses of the title is a boy who was named by a priest, Papa Moupelo, when he was a child in an oppressive orphanage. His full name is actually a sentence: Tokumisa Nzambe po Mose yamoyindo abotami namboka ya Bakoko, or “Thanks be to God, the black Moses is born on the earth of our ancestors.” While this name might seem almost ridiculous, Moses tries to live up to its meaning – as someone who will lead the lost out of the proverbial desert.

But after Papa Moupelo is plucked from his life and a Marxist-Leninist revolution erupts in 1970s Democratic Republic of Congo, Moses joins a street gang and reinvents himself as Little Pepper, before eventually appointing himself Robin Hood.

Black Moses shows a character at various stages of their life in what feels like a series of screen grabs. That’s not a criticism – it’s one of the things I love about it.

Mabanckou is a delightful writer whose long sentences (much like Moses’ name) are pretty rather than pretentious. Even when he writes about Moses’ descent into madness, it’s hard not to find pleasure in its description, as tragic as the subject matter is.

Example: “My memory problems affected my gait and I started to walk in zigzags because it completely slipped my mind that the shortest route from one point to another is a straight line, which is why, as they say around here, drunkards always come home late.”

If writing really is like dancing as Zadie Smith said, then Black Moses is a literary tap dance.

Follow Pearl Boshomane @pearloysias

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Man Booker prize 2017 longlist announced

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The longlist for the prestigious Man Booker prize for Fiction 2017 has been announced. This prize is awarded annually to the best work of fiction written in English. The winner is awarded £50,000.

The list was chosen from 144 submissions published in the UK between 1 October 2016 and 30 September 2017.

Baroness Lola Young, chair of the 2017 judging panel, said the 13 books “showcased a diverse spectrum – not only of voices and literary styles but of protagonists too”.

The shortlist, consisting of six books, will be announced on 13 September, ahead of the winning book being announced on 17 October.

The 13 titles which made the longlist are:

4321
Paul Auster

On March 3rd, 1947, Archibald Isaac Ferguson, the only child of Rose and Stanley Ferguson, is born. From that single beginning, Ferguson’s life will take four simultaneous paths. Four Fergusons will go on to lead four parallel and entirely different lives. Family fortunes diverge. Loves and friendships and passions contrast. Each version of Ferguson’s story rushes across the fractured terrain of mid-twentieth century America, in this sweeping story of birthright and possibility, of love and the fullness of life itself. Listen to Michele Magwood’s interview with Auster on 4321 here.

Days Without End
Sebastian Barry

After signing up for the US army in the 1850s, barely seventeen, Thomas McNulty and his brother-in-arms, John Cole, fight in the Indian Wars and the Civil War. Having both fled terrible hardships, their days are now vivid and filled with wonder, despite the horrors they both see and are complicit in. But when a young Indian girl crosses their path, Thomas and John must decide on the best way of life for them all in the face of dangerous odds. Read Bron Sibree’s interview with Barry here.

History of Wolves
Emily Fridlund

How far would you go to belong? Fourteen-year-old Linda lives with her parents in an ex-commune beside a lake in the beautiful, austere backwoods of northern Minnesota. The other girls at school call Linda ‘Freak’, or ‘Commie’. Her parents mostly leave her to her own devices, whilst the other inhabitants have grown up and moved on. So when the perfect family – mother, father and their little boy, Paul – move into the cabin across the lake, Linda insinuates her way into their orbit. She begins to babysit Paul and feels welcome, that she finally has a place to belong. Yet something isn’t right. Drawn into secrets she doesn’t understand, Linda must make a choice. But how can a girl with no real knowledge of the world understand what the consequences will be? Click here to read our review of Fridlund’s debut novel.

Exit West
Mohsin Hamid

Nadia and Saeed are two ordinary young people, attempting to do an extraordinary thing – to fall in love – in a world turned upside down. Theirs will be a love story but also a story about how we live now and how we might live tomorrow, of a world in crisis and two human beings travelling through it. Civil war has come to the city which Nadia and Saeed call home. Before long they will need to leave their motherland behind – when the streets are no longer useable and the unknown is safer than the known. They will join the great outpouring of people fleeing a collapsing city, hoping against hope, looking for their place in the world … Read a review of Hamid’s, who was previously shortlisted for the Man Booker (The Reluctant Fundamentalist), longlisted novel The Guardian here.

Solar Bones
Mike McCormack

Marcus Conway has come a long way to stand in the kitchen of his home and remember the rhythms and routines of his life. Considering with his engineer’s mind how things are constructed – bridges, banking systems, marriages – and how they may come apart. Mike McCormack captures with tenderness and feeling, in continuous, flowing prose, a whole life, suspended in a single hour. Follow https://www.theguardian.com/books/2016/jun/04/solar-bones-by-mike-mccormack-review for a full review on McCormack’s novel.

Reservoir 13
Jon McGregor

Reservoir 13 tells the story of many lives haunted by one family’s loss. It’s Midwinter. A teenage girl on holiday has gone missing in the hills at the heart of England. The villagers are called up to join the search, fanning out across the moors as the police set up roadblocks and a crowd of news reporters descends on their usually quiet home. Meanwhile, there is work that must still be done: cows milked, fences repaired, stone cut, pints poured, beds made, sermons written, a pantomime rehearsed. The search for the missing girl goes on, but so does everyday life. As it must. As the seasons unfold there are those who leave the village and those who are pulled back; those who come together or break apart. There are births and deaths; secrets kept and exposed; livelihoods made and lost; small kindnesses and unanticipated betrayals. Bats hang in the eaves of the church and herons stand sentry in the river; fieldfares flock in the hawthorn trees and badgers and foxes prowl deep in the woods – mating and fighting, hunting and dying. An extraordinary novel of cumulative power and grace, Reservoir 13 explores the rhythms of the natural world and the repeated human gift for violence, unfolding over thirteen years as the aftershocks of a stranger’s tragedy refuse to subside. The Sunday Times review of Reservoir 13 can be read here.

Elmet
Fiona Mozley

Fresh and distinctive writing from an exciting new voice in fiction – Sally Rooney meets Sarah Perry, Elmet is an unforgettable novel about family, as well as a beautiful meditation on landscape.

Daniel is heading north. He is looking for someone. The simplicity of his early life with Daddy and Cathy has turned sour and fearful. They lived apart in the house that Daddy built for them with his bare hands. They foraged and hunted. When they were younger, Daniel and Cathy had gone to school. But they were not like the other children then, and they were even less like them now. Sometimes Daddy disappeared, and would return with a rage in his eyes. But when he was at home he was at peace. He told them that the little copse in Elmet was theirs alone. But that wasn’t true. Local men, greedy and watchful, began to circle like vultures. All the while, the terrible violence in Daddy grew.

Atmospheric and unsettling, Elmet is a lyrical commentary on contemporary society and one family’s precarious place in it, as well as an exploration of how deep the bond between father and child can go. Click here for more on Mozley’s longlisted novel.

The Ministry of Utmost Happiness
Arundathi Roy
A richly moving new novel – the first since the author’s Booker-Prize winning, internationally celebrated debut The God Of Small Things went on to become a beloved best seller and enduring classic. The Ministry Of Utmost Happiness takes us on an intimate journey across the Indian subcontinent – from the cramped neighbourhoods of Old Delhi and the glittering malls of the burgeoning new metropolis to the snowy mountains and valleys of Kashmir, where war is peace and peace is war, and from time to time ‘normalcy’ is declared. Anjum unrolls a threadbare Persian carpet in a city graveyard that she calls home.

We encounter the incorrigible Saddam Hussain, the unforgettable Tilo and the three men who loved her – including Musa whose fate as tightly entwined with hers as their arms always used to be. Tilo’s landlord, another former suitor, is now an Intelligence officer posted to Kabul. And then there are the two Miss Jebeens: the first born in Srinagar and buried, aged four, in its overcrowded Martyrs’ Graveyard; the second found at midnight, in a crib of litter, on the concrete pavement of New Delhi. At once an aching love story and a decisive remonstration, a heart-breaker and a mind-bender, The Ministry Of Utmost Happiness is told in a whisper, in a shout, through tears and sometimes with a laugh. Its heroes are people who have been broken by the world they live in and then rescued, patched together by acts of love-and by hope. For this reason, fragile though they may be, they never surrender.

Braiding richly complex lives together, this ravishing and deeply humane novel reinvents what a novel can do and can be. And it demonstrates on every page the miracle of Arundhati Roy’s storytelling gifts. Michele Magwood’s recent interview with Roy can be read here. Click here to listen to the podcast of their conversation.

Lincoln in the Bardo
George Saunders
In his long-awaited first novel, American master George Saunders delivers his most original, transcendent, and moving work yet. Unfolding in a graveyard over the course of a single night, narrated by a dazzling chorus of voices, Lincoln in the Bardo is a literary experience unlike any other.

February 1862. The Civil War rages while President Lincoln’s beloved eleven-year-old son is gravely ill. In a matter of days, Willie dies and is laid to rest in a Georgetown cemetery. Newspapers report that a grief-stricken Lincoln returns to the crypt several times alone to hold his boy’s body.

From that seed of historical truth, George Saunders spins an unforgettable story of familial love and loss that breaks free of its realistic, historical framework into a thrilling, supernatural realm both hilarious and terrifying. Willie Lincoln finds himself in a strange purgatory — called, in the Tibetan tradition, the bardo. Within this transitional state, where ghosts mingle, gripe, and commiserate, a monumental struggle erupts over young Willie’s soul.

Lincoln in the Bardo is a bold step forward from one of the most important and influential writers of his generation. Saunders has invented a thrilling new form that deploys a kaleidoscopic, theatrical panorama of voices — living and dead, historical and invented — to ask a timeless question: How do we live and love when we know that everything we love must end?

Read Rosa Lyster’s Sunday Times review of Saunders’ novel.

Home Fire
Kamila Shamsie
From the Orange and Baileys Prize-shortlisted author comes an urgent, explosive story of love and a family torn apart

Isma is free. After years spent raising her twin siblings in the wake of their mother’s death, she is finally studying in America, resuming a dream long deferred. But she can’t stop worrying about Aneeka, her beautiful, headstrong sister back in London – or their brother, Parvaiz, who’s disappeared in pursuit of his own dream: to prove himself to the dark legacy of the jihadist father he never knew.

Then Eamonn enters the sisters’ lives. Handsome and privileged, he inhabits a London worlds away from theirs. As the son of a powerful British Muslim politician, Eamonn has his own birthright to live up to – or defy. Is he to be a chance at love? The means of Parvaiz’s salvation? Two families’ fates are inextricably, devastatingly entwined in this searing novel that asks: what sacrifices will we make in the name of love?

A contemporary reimagining of Sophocles’ Antigone, Home Fire is an urgent, fiercely compelling story of loyalties torn apart when love and politics collide – confirming Kamila Shamsie as a master storyteller of our times.

A review of this internationally acclaimed author’s longlisted novel can be read here.

Autumn
Ali Smith
A breathtakingly inventive new novel from the Man Booker-shortlisted and Baileys Prize-winning author of How to be both. Autumn. Season of mists and mellow fruitfulness. That’s what it felt like for Keats in 1819.How about Autumn 2016? Daniel is a century old. Elisabeth, born in 1984, has her eye on the future. The United Kingdom is in pieces, divided by a historic once-in-a-generation summer.Love is won, love is lost. Hope is hand in hand with hopelessness. The seasons roll round, as ever. Ali Smith’s new novel is a meditation on a world growing ever more bordered and exclusive, on what richness and worth are, on what harvest means. This first in a seasonal quartet casts an eye over our own time. Who are we? What are we made of? Shakespearian jeu d’esprit, Keatsian melancholy, the sheer bright energy of 1960s Pop art: the centuries cast their eyes over our own history-making.Here’s where we’re living. Here’s time at its most contemporaneous and its most cyclic.From the imagination of the peerless Ali Smith comes a shape-shifting series, wide-ranging in timescale and light-footed through histories, and a story about ageing and time and love and stories themselves. Here comes Autumn.

Click here for more on Autumn.

Swing Time
Zadie Smith

A dazzlingly exuberant new novel moving from north west London to West Africa, from the multi-award-winning author of White Teeth and On Beauty. Two brown girls dream of being dancers – but only one, Tracey, has talent. The other has ideas: about rhythm and time, black bodies and black music, what it means to belong, what it means to be free. It’s a close but complicated childhood friendship that ends abruptly in their early twenties, never to be revisited, but never quite forgotten either. Bursting with energy, rhythm and movement, Swing Time is Zadie Smith’s most ambitious novel yet. It is a story about music and identity, race and class, those who follow the dance and those who lead it . . .

Annetjie van Wynegaard’s Sunday Times review of the renowned Smith’s longlisted novel can be read here.

The Underground Railroad
Colson Whitehead

Cora is a slave on a cotton plantation in Georgia. All the slaves lead a hellish existence, but Cora has it worse than most; she is an outcast even among her fellow Africans and she is approaching womanhood, where it is clear even greater pain awaits. When Caesar, a slave recently arrived from Virginia, tells her about the Underground Railroad, they take the perilous decision to escape to the North. In Whitehead’s razor-sharp imagining of the antebellum South, the Underground Railroad has assumed a physical form: a dilapidated box car pulled along subterranean tracks by a steam locomotive, picking up fugitives wherever it can. Cora and Caesar’s first stop is South Carolina, in a city that initially seems like a haven. But its placid surface masks an infernal scheme designed for its unknowing black inhabitants. And even worse: Ridgeway, the relentless slave catcher sent to find Cora, is close on their heels. Forced to flee again, Cora embarks on a harrowing flight, state by state, seeking true freedom. At each stop on her journey, Cora encounters a different world. As Whitehead brilliantly recreates the unique terrors for black people in the pre-Civil War era, his narrative seamlessly weaves the saga of America, from the brutal importation of Africans to the unfulfilled promises of the present day. The Underground Railroad is at once the story of one woman’s ferocious will to escape the horrors of bondage and a shatteringly powerful meditation on history.

Read Bron Sibley’s interview with the Pulitzer Prize winning author here.

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A quest wrapped in mystery: Michele Magwood talks to SJ Naudé about his debut novel The Third Reel

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Published in the Sunday Times

© Joanne Olivier
 
The Third ReelThe Third Reel
SJ Naudé (Umuzi)

In London in 1986 a young man awakes in a church bell tower. He has escaped conscription in South Africa and a bullying, homophobic father, and will be granted asylum in Thatcher’s Britain. After a night of sex with the bellringer he is elated, reborn. “His body is a radar, his skin a new country, his heart a shiny machine.”

So begins The Third Reel, the debut novel from SJ Naudé. Naudé seems to have sprung, fully formed, into the South African literary world. After decades as a corporate lawyer in London and New York – he holds masters degrees from Cambridge and Columbia – he hung up his suits and returned to South Africa to study a creative writing masters degree with Marlene van Niekerk in Stellenbosch.

The result was a collection of short stories, The Alphabet of Birds/Alfabet van die Voëls, which was roundly applauded and which won several prizes, including the UJ Debut Prize and a South African Literary Award.

“The stories were written after many years of me suppressing the urge to write fiction while being a lawyer,” he says. “They flowed remarkably freely – wrote themselves, almost.”

The Third Reel, he says, was a far more laborious process. “In my experience the creative process feels like hacking at a thick layer of ice, until suddenly, when you least expect it, you break through. A few precious moments of fluency then follow, of epiphany or swooning, entailing something like the dissolution of the self, a loss of personality, almost, a hiatus in which the pen starts making its own patterns on the page.”

Naudé is a slight, poised man, tightly composed, with the long fingers of a pianist. His bearing speaks of cool asceticism but his writing burns like dry ice.

Etienne, the South African refugee, is at first a spectral presence, virtually penniless, moving from squat to squat, leaving little mark on the world. He only begins to take shape when he falls in love with a German artist, Axel. Axel, who has a huge tattoo of an oak tree on his back, moonlights as a paediatric nurse.

Etienne is awarded a scholarship to study at the London Film School. When he comes upon the first of three reels of a German film made by a small group of Jewish filmmakers in the 1930s, it ignites an obsession in him to find the remaining two.

The story becomes a quest wrapped in a mystery, especially when Axel disappears in Berlin and Etienne follows him.

Naudé layers the story with film, architecture, music and art, but there is nothing genteel about this: it is Brutalist architecture (one of Etienne’s lovers gets aroused by concrete buildings), depressing wartime black and white films, shattering post-punk industrial music. And Axel’s art kicks hard at the boundaries of decency: his installations include a flask of fresh semen that he tops up every day, photographs of dead Victorian children, and figurines woven from the hair of dying babies, harvested from those on his wards.

Just as Axel roars at convention, so Etienne tries to obliterate himself, eradicate his past; he ignores the desperate letters from his mother in South Africa, screws up his studies, refuses to join the band of conscientious objectors working for the struggle.

Scenes are often erotic, sometimes depraved, both carnal and tender. The atmosphere is at times drenched in ennui, at others poundingly tense.

The writing is acutely sensory – Axel smells of “sweat and cordite” – and the themes of illness, madness, loss and alienation that Naudé explored in his short stories are unwound again, clinging fast to the narrative.

The Third Reel is a difficult, discomfiting book. But towards the end, when the quest is over, a state of grace finally descends.

Available in Afrikaans as Die Derde Spoel.

Follow Michele Magwood @michelemagwood

Naudé’s Best Books

This is a somewhat random selection of contemporary books that were exactly the right read at the right time for me, and hence made maximum impact (rather than necessarily a ‘best novel’ list):

The Book Of HappenstanceThe Book of Happenstance, Ingrid Winterbach: Invoking a cosmic scale to measure human losses provides unexpected consolation.
 
 
 
 
 
 
 
 
 
 
Mothers and SonsMothers and Sons, Colm Toíbín: Sober explorations of mother-son relationships in deceptively simple stories.
 
 
 
 
 
 
 
 
 
 
ExtinctionExtinction, Thomas Bernhard: How the rhythms of seething anger can make for unexpected beauty!
 
 
 
 
 
 
 
 
 
 
VossVoss, Patrick White: Extraordinary visions in the Australian Outback, a journey into the void.
 
 
 
 
 
 
 
 
 
 
AgaatAgaat, Marlene van Niekerk: Proof of how a novel can overwhelm and forever change a reader.
 
 
 
 
 
 
 
 
 
 
In A Strange RoomIn a Strange Room, Damon Galgut: Sparely written and deeply affecting book about travelling, memory and the inescapable self.
 
 
 
 
 
 
 
 
 
 
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Book bites: 30 July 2017

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Dying to LiveDying to Live
Michael Stanley (Orenda Books)
****
Book mystery
When a witchdoctor goes missing and a body is discovered in the Central Kalahari Game Reserve, detectives David “Kubu” Bengu and Samantha Khama are called in to solve another head-scratcher of a case. While the police try to piece it all together, a group of malefactors continue their quest for a plant that will increase one’s longevity. Themes of rhino-horn smuggling, biopiracy, corruption and greed permeate Michael Stanley’s sixth crime novel, while the beautiful setting of Botswana captures the imagination. Kubu is an endearing protagonist both as a detective and a dad, devoted to his family. This is a crime story with a generous dose of tenderness.
- Anna Stroud @annawriter_

A Piece of the WorldA Piece of the World
Christina Baker Kline (HarperCollins)
****
Book buff
An historical fictionalised account about the life of Christina Olson, the woman in Andrew Wyeth’s famous 1948 painting Christina’s World. Olson, who lived in the Maine farmhouse in the painting, suffered from a debilitating neuromuscular disease and the book describes her determination to live life as full as possible despite this. Olson’s life straddled two world wars and one ancestor who was a judge in the Salem witch trials. Through the Wyeth painting, now in the Museum of Modern Art, she transcended the piece of New England where she felt trapped. An enjoyable read. – Vuyo Mzini @vuyomzini

Spire Spire
Fiona Snyckers (Clockwork Books)
***
Book thrill
In remote Antarctica, the South Pole International Research Establishment houses a frozen box of viruses. Dr Candice Burchell, surgeon and virologist, is called to the infirmary after an employee falls fatally ill. The centre is ravaged by an outbreak of diseases that haven’t been dealt with since the Middle Ages. More people turn up dead. Dr Burchell is about to be left all alone – or is she? Snyckers’ novel drops a stone into the pit of your stomach. – Kelly Ansara @QueenKelso

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“We built our wall across America three years before Trump used it in his election campaign”– Frank Owen on South

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“The USA has been ravaged by Civil War. It’s thirty years since the first wind-borne viruses ended the war between North and South – and still they keep coming. Every wind brings a new and terrifying way to die. The few survivors live in constant fear, hiding from the wind – and from each other.

In this harsh Southern expanse, brothers Garrett and Dyce Jackson are on the run from brutal law-enforcers. They meet Vida, a lone traveller on a secret quest. Together, they will journey into the dark heart of a country riven by warfare and disease. Together, they will discover what it takes to survive.” – SOUTH, Frank Owen

Michael Sears, co-author of the Detective Kubu-series, recently sat down with our sunshine noir author(s) for August, Frank Owen, the writing duo comprised of Diane Awerbuck and Alex Latimer. During the interview they discussed their post-apocalyptic novel South; human nature; the novel’s themes of segregation and prejudice, reminiscent of apartheid-era South Africa; and researching mushrooms.

Alex Latimer and Diane Awerbuck

 

You both come from rather different backgrounds. How did you come to write together, and what motivated this unusual premise for a novel set in the U.S.?

AL: When I was releasing my first novel, The Space Race, I’d just finished reading Diane’s heavy-hitting but wonderful book, Home Remedies, and so as a fan, I asked her to interview me at the launch. With some bribery, she agreed. We do come from different backgrounds, but we realized early on that our interests are quite similar. The idea to write together was just for fun, initially, because it’s difficult to know how that process works without getting into it.

The premise for SOUTH came from chatting over coffee during a particularly cold and windy Cape Town winter. Everyone was sick and had been for what seemed like months. The idea of wind-borne viruses was literally in the air. But at the same time, I think the premise of building walls and keeping people apart was also floating about in the global zeitgeist. We built our wall across America three years before Trump used it in his election campaign. Fiction has a hard time keeping up with reality.

As one-half of a writing couple myself, I’m naturally intrigued to know how you actually write together- by chapter, character, draft? And is there any significance behind the name Frank Owen?

DA: Frank is a name from a side of my family, and Owen came from Alex’s. So the ancestors are doing their bit there.

AL: I don’t really think of our collaboration as two writers writing the same story. Diane’s writing style and my writing style are quite different – so the process was more about combining my skills with hers rather than sharing the load. I’ve always been intrigued by pace and plot, whereas Diane’s writing is much more lyrical. We tried a few ways of working, but in the end we’d just chat about where the story was going and then I’d put down the first draft of a chapter and Diane would double it, concentrating on character and atmosphere. We wanted a fast-paced action narrative told in a “literary” style.

Your lead characters Dyce and his brother are heading for the sea on the run from a powerful family, while Vida is trying to save her mother and her mother’s knowledge of natural remedies. They have different agendas, but join forces from necessity, despite the ongoing tension between them. Is it an axiom that this type of thriller needs to be more character driven than plot driven?

DA: Most of us readers are interested in characters as people. I definitely read novels because I hope to find answers to all sorts of dilemmas. Complex, believable characters are a way to talk about serious issues without tub-thumping.

AL: We were quite conscious about spending time doing both character and plot. My default would be plot first – but then who cares what happens in a novel if they don’t care about who it’s happening to? It’s a tricky balance.

SOUTH is a dark vision. People are automatically suspicious of any stranger who may be the carrier of a new and usually fatal disease. There is little cooperation with the exceptions of one community which protects itself and generally excludes strangers, and a hospice-type community where everyone is already sick. Yet many of your characters – including Dyce and Vida -are trying to help and support others. Would you call yourselves optimists about human nature, and was exploring the behavior of intrinsically good people in intolerable circumstances part of your theme?

AL: I’m certainly an optimist about human nature. Why can’t we all just get along? For me apocalyptic fiction is all about whittling away the parts of life that are non-essential. There’s no dry-cleaning to be done, no dog food to buy, no peeling fascia boards that need attention. You get right into the essence of a person. But as dark as that sounds, we realized early on that every single character in the book had to be hopeful in some way – because without that hope they’d already be dead. It’s a lovely space to explore human nature and the will to survive.

DA: It’s something that fascinates me, and the only answer I’ve found is Viktor Frankl’s, in Man’s Searching for Meaning. What makes one person give up, and another keep fighting? Even medical doctors call it the will to live: they don’t know exactly what it is, either – but we all know it when we see it.

Continue reading Michael’s interview with Alex and Diane here.

Click here for an excerpt of South.

South

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The Space Race

 
 

Home Remedies

Under a harrowing spell: Hannah Kent’s new book tells a dark Irish fairy tale, writes Michele Magwood

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Published in the Sunday Times

It is as well that young Australian writer Hannah Kent ignored the old canard to “write what you know”. Her first book Burial Rites was set on a farm in remote northwest Iceland in 1829. It tells the tale of the life and death of Agnes Magnúsdóttir, the last woman to be executed in Iceland. Relentlessly but exquisitely bleak, it was a rare imaginative debut.

Her second novel The Good People is also set in the 19th century and, like the first, is based on a true story. In a valley in Ireland in 1825, a farmer, Martin Leahy, drops dead. His wife Nóra is undone by his death.

The villagers are uneasy that he died so unexpectedly at the crossroads where they bury their suicides. They are poor, uneducated folk, half-starved on a diet of potatoes, milk and poitín (the Irish equivalent of witblitz), trying to control the unknowable with rituals and spells, navigating their destinies by signs and signals from the natural – and supernatural – world.

“I avoid the word ‘superstition’, as I think it implies stupidity and ignorance,” says Kent in an e-mail from her home in Adelaide. “A lot of folklore is filled with wisdom, as much as it might operate on a system of logic or rationality that can seem bizarre or nonsensical to outsiders. I have great respect for Irish folklore and folk beliefs.”

Sure enough, misfortune begins to pile up in the village. The cows’ milk virtually dries up, a baby is stillborn and a woman accidentally sets herself on fire. And then there is Nóra’s small grandson Micheál, who she is raising, and who she tries to keep hidden from the community. He is “a scragged boy, with a loose, mute jaw”. His skin has “a thinness to it, like the pages in a priest’s holy book”. He drools and screeches and gurns incessantly, and because he was a normal baby, Nóra begins to believe he is a changeling, that the Good People have stolen the real Micheál away and left this “poor cratur” behind. The villagers believe he has cursed the valley.

The “Good People” are, of course, the fairies, and are hardly good. Forget any idea of twinkling, benign little folk. The fairies of Irish folklore are darkly capricious, even evil.

“The fairies were (and, in some places, still are) thought to be the cause of both inexplicable luck and misfortune,” explains Kent. “They were capable of bestowing great gifts and favours on people, and just as quickly ‘striking’ or inflicting harm on others. It’s understandable that people therefore spent a lot of time trying to stay on the right side of the fairies, to protect themselves from their malice as much as possible. They might pour out beestings (new milk) for the fairies, warn them before throwing out dirty water (so as not to catch them in the downpour), or refer to them as ‘the good people’ or ‘the gentry’ out of respect and deference.”

Nóra turns to Nance Roach, a healer and “handywoman”, a midwife. Some call her “the herb hag”. She’s a scrawny, decrepit old woman, steeped in the old ways and loathed by the village priest.

“I didn’t want to portray Nance as the oversimplified all-knowing mystic,” says Kent, “the imperturbable mother-earth, I-am-one-with-nature healer, so I tried to focus on her flaws, on her doubt, on her mistakes. Yes, she lives in a semi-wild state, but her isolation isn’t romantic, she is poor and vulnerable.”

Together Nóra and Nance will try to “put the fairy out” of Micheál. It is a fascinating but harrowing process that will culminate in a court case. It was the report of this court case in a centuries-old newspaper that inspired Kent to reimagine the story.

The Good People is an enthralling book, queer in the original sense of the word, densely atmospheric. It sings with the cadences of the people, and pulses with the natural world. .@michelemagwood

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Burial Rites

Nappy Noir: Jennifer Platt talks to Fiona Barton about her latest novel The Child

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Published in the Sunday Times

The Child
Fiona Barton (Bantam Press)
****

The label “thriller” doesn’t do justice to the dark psycho-suspense that female crime novelists are becoming known for.

Popularised by books like Gone Girl and The Girl on the Train, the sub-genre is called griplit by some, because that’s what it is – gripping. A cliché, but it’s stuck.

There are, however, a few novelists who prefer to call what they are writing “domestic noir”, and bestselling UK author Fiona Barton is one of them. She tells me in a phone interview: “I prefer the term domestic noir to griplit. I write about what happens to ordinary women when secrets are revealed. What happens to relationships. What happens when we have something that we don’t want people to know, when we bury them deep.”

The Child is exactly that. It has a few core questions that drove Barton to write her second book. “Why would someone bury a child? Why would they be so afraid? Why would they be so ashamed?”

Like her bestselling debut The Widow, in which she wrote about whether the wife of an accused knew that her husband was a child molester and killer, Barton also bases this on a true story that grabbed her attention during her career as a journalist – she wrote for the Daily Mail, Daily Telegraph and Mail on Sunday.

“I still remember the case. It was a mummified body of a baby found in a garden shed. I kept thinking about it. I never got to write the story. It was solved by the police immediately. I can’t remember the details but the mother was arrested.”

The case haunted Barton and she wanted to write a book that focused on the dead baby and the relationship between mothers and daughters.

She brought back her intrepid journalist Kate Waters from The Widow. Waters, like Barton, is captured by the news headline “Baby Body Found”, about the body found at a construction site in London.

Barton introduces three other women who are affected by the news, using them as narrators to tell the story in bits, each short chapter dedicated to each woman. There’s Angela, whose baby was stolen years ago from the hospital and never found, who thinks the corpse would be her baby. There’s Emma, an unreliable narrator who has an unknown link to the news story. The third woman is Jude, Emma’s rather unlikable mother.

The case unravels, the women’s lives unravel and the reader can’t wait for Barton’s next book – which will, thank goodness, feature Kate Waters again. Jennifer Platt @Jenniferdplatt

The Child

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Book Bites: 6 August

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The Fact Of A Body
Alexandria Marzano-Lesnevich (Macmillan)
*****
Book real

“Trigger Warning” could be the alternative title for this captivating, raw and brutal book, blending memoir with true crime. The Fact Of A Body is a tale about sexual abuse, law, truth, family, poverty, loss, secrets and memory. It is the gruesome story of Ricky Langley – a convicted child molester and murderer. It’s the case that leads the author Alexandria Marzano-Lesnevich to abandon her law career. As she looks at Langley’s past, she finds that his story is extremely unsettling – so unsettling that it causes her to unearth long-buried secrets in her own family. This genre-defying book is a critical examination of storytelling: of the self, each other, and what we call truth. – Tiah Beautement @ms_tiahmarie

Mad
Chloé Esposito (Penguin Books)
****
Book fling

The first book in a thrilling three-part series that is likely to be in the same league as the famed Fifty Shades trilogy. Alvina Knightly is going nowhere. She’s lost her job, been kicked out of her house and has zero friends. Her twin invites her to Sicily to her lavish villa. Soon there are dead bodies, wild sex and the mafia are involved. Something has ignited in Alvina and, well, it’s all rather mad. It may take a few chapters to get into, but once the juicy bits start to emerge, you’ll pull an all-nighter to find out what happens next. Part two is entitled Bad, and if Mad is anything to go by, readers are in for one helluva ride. – Jessica Levitt @jesslevitt

Yesterday
Felicia Yap (Wildfire)
****
Book fiend

Born in Kuala Lumpur, Felicia Yap has worked as everything from cell biologist to war historian to university lecturer and catwalk model. This, her first novel, is about how people use memory to distinguish between those who are more or less worthy. This is an Earth where the majority, after the age of 18, can retain only one day’s memory. An elite can remember two days. Everyone keeps a diary: without this journal, they have no way of recalling their past. A brilliantly conceived sci-fi novel. – Aubrey Paton

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Book Bites: 13 August 2017

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The CallerThe Caller
Chris Carter (Simon & Schuster)
Book thrill
***
Author Chris Carter is a Brazil-born criminal psychologist turned crime writer who is making a name for himself among the krimi giants. After a two-year hiatus, The Caller is his eighth page-twister in a series that follows LA detective Robert Hunter as he tracks down the baddest of the bad. This time around, the bad guy is exceptionally diabolical – a serial killer who knows his way around social media and likes to play gruesome games with his victims. This thriller is gratuitously gory in parts, but crime fans will delight in the chase. – Sally Partridge @sapartridge

The Nowhere ManThe Nowhere Man
Gregg Hurwitz (Michael Joseph)
Book thrill
***
Orphan Evan Smoak was raised as an assassin in a secret government project but now, rich and contrite, he uses his training to help anyone in need. Evan has just bust a child sex-slave ring and is on his way to rescue the final victim when he is kidnapped and held captive in a luxurious mansion where his every desire is met – except freedom. The Nowhere Man is the second in the series and is as fast-paced and slickly written as the first, Orphan X. This is a wonderful old-fashioned escapist adventure. – Aubrey Paton

Temporary PeopleTemporary People
Deepak Unnikrishnan (Simon & Schuster)
Book buff
****
The United Arab Emirates is filled with riches most can only dream of: skyscrapers and designer shops line the streets. And yet the people who built the city, who paved the roads, who dedicated their lives to making it oh so glamorous are not citizens. Temporary People is a collection of short stories about migrant workers in the UAE. – Jessica Levitt @jesslevitt

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Festering divisions in the American South: Bron Sibree talks to Karin Slaughter about her latest novel The Good Daughter

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Published in the Sunday Times

The Good DaughterThe Good Daughter
Karin Slaughter (HarperCollins)
****

Karin Slaughter has been in a class of her own since her debut crime novel Blindsighted, which became a surprise bestseller in 2001. It revealed a willingness to write about violence with unflinching honesty and an unparalleled ability to create strong, believable female characters.

She rocketed to international stardom, and sales of her books now exceed 35 million copies in 36 languages. From the outset, says Slaughter, “I wanted to write tough stories from a woman’s perspective because I think that women look at the world differently.”

Her latest novel The Good Daughter takes her interest in character and in social issues to a new level. A standalone work that is her 17th novel to date, The Good Daughter doesn’t so much slip the moorings of the crime genre, but realigns its ties to them in refreshing ways. It cleverly links the stories of two sisters, Charlie and Sam, and their experience of two violent, murderous events – one in the present, one in the past – in a cannily layered thriller.

Yet it is almost Victorian in its social scope and depth of characterisation. Even its size, a whopping 527 pages, is more akin to the literary traditions of a bygone era. “This is my longest book,” says Slaughter. “I always say a story needs to be as long as it needs to be.”

Already being hailed as a tour de force, it reveals Slaughter at the top of her game, and was seeded in part by the death of a former English teacher who was her mentor for many years. “I wanted to talk about the fact that even if someone dies your relationship with them doesn’t end, it continues after they’re gone. So it started with thinking about the relationship between Charlie and Sam and their mother, and how, with their mother gone, she has such influence on them.”

All her novels are anchored in the landscapes and sensibilities of the American South, but The Good Daughter probes the festering, and very real divisions between the middle class and those left behind in Pikeville, Georgia, where much of the novel is set. “That was very important to me,” says Slaughter, whose own father grew up in “the Holler”, the poorest area in Pikeville.

“He was one of nine kids and his father was always being chased and beaten up by either the clan because he wasn’t taking care of his family, or by the government because he was making moonshine. They would squat in shacks with no running water and live on squirrels. So I know how people who are trapped in that kind of poverty work their asses off and never, ever get ahead.”

Steeped in the history, lore and literature of the region, the 46-year-old author has been on mission to “honour the South” from the outset, as well as to highlight the chilling facts of violence against women. Part of the reason she feels so at home in the crime genre “is because I want to talk about social issues, and I think crime fiction’s job has always been to hold up a mirror to society. I grew up reading Flannery O ’Connor, and she used shock and violence as this fulcrum to prise the scab off the human condition, and I absolutely think when I write, that that’s my job.”

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Book bites: 20 August 2017

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The Wandering EarthThe Wandering Earth
Cixin Liu, Head of Zeus
****
Book fiend
This collection of award-winning sci-fi short stories explores human desire, distant galaxies and potential futures. The titular story’s grand premise is that the Earth’s rotation must stop and its orbit move away from the sun. In “For the Benefit of Mankind” an assassin is hired to kill specific targets before approaching aliens take over the Earth. The power of “The Wandering Earth“ lies not just in Liu’s scientific flights of fancy but his ability to get to the heart of the human condition. These are magnificent tales of people in love in the face of galactic doom. The stories will satisfy space geeks and sci-fi junkies yet are just as accessible to dreamers. – Efemia Chela @efemiachela

See What I Have DoneSee What I Have Done
Sarah Schmidt, Headline
*****
Book thrill
Long before OJ Simpson, Amanda Knox and Oscar Pistorius, the murder that garnered massive public interest was in 1892 when Andrew and Abby Borden were brutally killed with an axe in their Massachusetts home. Lizzie Borden, their daughter, was arrested and found innocent. It’s a story that’s been told in rhymes, movies, books and songs. This is Sarah Schmidt’s chance and she wins. This is a psychological thriller about the family dynamics told from key role-players’ points of view. It’s an emotional journey that shows there was a crisis, even before that fateful day. – Jessica Levitt @jesslevitt

The Reason You're AliveThe Reason You’re Alive
Matthew Quick, Pan Macmillan
****
Book hug
Sixty-eight-year-old Vietnam vet David Granger is a layered man. Irascible, unlikable – he seems like an alt-right dream. One who loves guns and hates everything and everyone. But as he tells his life story and reveals his true character and the daily battles of living with post-traumatic stress syndrome, the reader cannot help but sympathise and like the old man. Quick has written another bestseller filled with characters so compelling and American, you can hear Robert de Niro talking. – Jennifer Platt @Jenniferdplatt

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Book Bites: 27 August 2017

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The Age of GeniusThe Age of Genius: The Seventeenth Century and the Birth of the Modern Mind
AC Grayling, Bloomsbury
Book buff
****
The book of the year for history buffs and closet philosophers. The question at the centre is: how did the events of the 17th century radically alter the way people thought about the world and their place in it? Grayling offers a detailed yet riveting account of the history of ideas; how ideologies transformed despite – or because of – the tumultuous events of the 1600s. The 17th century is known for its battles between Catholics and Protestants, and Catholicism and science. But it was also a triumphant time that gave rise to, among many other things, the postal service. – Anna Stroud @annawriter_

A Fast Ride out of HereA Fast Ride out of Here: Confessions Of Rock’s Most Dangerous Man
Pete Way
, Constable
Book real
***

Pete Way is a colourful character who played bass for ’70s rockers UFO and a number of other bands. In his day he was capable of – as detailed throughout this book’s 250 or so pages – ingesting enough drugs and alcohol to make even Keith Richards arch a concerned eyebrow. It’s a direct, old-fashioned sex and drugs and rock ’n roll tell-all. It entertains and frustrates in equal measure – Way’s lackadaisical “that’s just how I was” attitude to his excesses and the pain he caused often comes across as selfishness rather than as a request for the leeway sometimes required by an artistic nature. – Bruce Dennill @BroosDennill

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