Contemporary Fiction

Hot Milk — Deborah Levy

First published 2016. Penguin paperback, 2017, pp 218, c.95,000 words. Everything in this novel is ambiguous: we are never sure what is real and what is only desired or feared.  Ostensibly it is a simple story, told from the point of view of a young woman, Sophia Papastergiadis.  She and her mother have come from

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Snowdrops — A. D. Miller

First published 2011. Atlantic Books paperback, 2011, pp 273, c.55,000 words. This book notoriously was shortlisted for the Booker Prize in 2011, the year that Stella Rimington, thriller writer and former head of MI5, declared that one of the criteria for the prize that year would be ‘readability’.  Hurrah, who wants to read an unreadable

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Daniel Martin — John Fowles

First published 1977. Johnathan Cape hardback, 1977, pp 704, c.265,000 words. The trouble with being a very successful writer is that when your next book is a turkey everyone is going to tell you it’s a swan.  Fowles is quite capable of writing some really elegant and powerful prose and putting that together with absorbing

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Lost for Words — Edward St Aubyn

First published 2014. Picador hardback, 2014, pp 261, c.45,000 words. There is no doubt that St Aubyn is a very clever chap, but unfortunately that doesn’t always make for good reading.  Presumably this was a vanity project that the author’s publisher allowed as an intermission after a successful series.  Some parts are quite amusing. The

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Mill on the Floss, The — George Eliot

First published 1860.  Wordsworth paperback, 1995, pp 459, c.215,000 words. Very much a Victorian novel, this is full of authorial moralising and has a ridiculously melodramatic ending.  The authorial voice slows the narrative pace, something that would be unacceptable to today’s publishers.  Victorian society had its strict codes of writing that seeped in from the

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In Ascension — Martin MacInnes

First published 2023.  Atlantic paperback, 2024, pp 496, c.100,000 words. This is one of the very best modern books that I have read.  The beauty and subtlety of the language shines out from first to last, and so much contains what Hilary Mantel called ‘a wobble in every sentence’: the true nature of human communication. 

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