Beyond Black - Hilary Mantel
A psychic medium travels between drab commuter towns, making money from the grieving. She really is psychic, but she doesn't tell her clients the truth about the grubby, purgatorial afterlife she's in contact with. This is a knotty, upsetting novel - heavy with the textures of suburban emptiness, full of chain pubs, faded community centres and failing relationships. And it's also nightmarish in quite a literal way - its horror feels like the specific horror of a bad dream. Its ghosts have an invasive, grotesque physicality - a blunt but effective literalisation of the protagonist's childhood traumas. About 200 pages longer than I was comfortable with, but its grinding, queasy repetition was a feature not a bug.
Wasted Calories and Ruined Nights - Jay Rayner
A collection of reviews of expensive, terrible restaurants from Rayner's guardian columns. The prose is a lot of fun, and this is an excellent portrait of misguided excess. But these would definitely work better in newspapers than as a book: reading them in bulk, you can see the repeated joke structures that would be disguised by weekly gaps. And I found that eventually, the descriptions of Very Complicated Food all blurred into one. Still, this is short, funny, and does everything it sets out to do.
Lost Empires - J.B. Priestley
A young artist takes a job as a stage magician's assistant in the dying days of variety theatre. It's a vivid, meandering portrait of a vanished world - interested in the practicalities and psychology of travelling town to town, purveying lowbrow entertainment, full of picaresque, bawdy incident, and almost totally uninterested in plot. It's worth noting that its treatment of its female characters ranges from the questionable to the deeply unpleasant. And if you're interested in Priestley, the absolutely perfect haunted house novel "Benighted" is the place to start. But as a book about a specific place at a specific time, this is strong stuff.
Too Like the Lightning - Ada Palmer
Well this is superb - rich, playful, and contantly surprising. On the surface, this is a murder mystery set in a baroque, unsettling utopian future. But it's also a pastiche of 18th century literature and a fantasy novel interested in engaging with the questions of 18th century philosophy: this is unashamedly science fiction for people with humanities degrees. Occasionally it feels somewhat unbalanced by the sheer profusion of its ideas, its inventiveness knocking the structure slightly off balance. But this is a good problem to have - it was never meant to be clean or straightforward. And it is full of delights, whether those delights come from bravura plot-twists, a charmingly enigmatic narrator, or simply the sparkling weirdness of its world.
The Famished Road - Ben Okri
Brick-thick Booker-winning magic realism about a spirit child growing up in a human body in a small African town. I assumed - from its reputation and its opening chapters - that this would be an epic novel, covering decades and spanning countries. It's quite the opposite - a precisely detailed story of a childhood, with a supernatural phantasmagoria just peeking in at the edges. Tonally, this juxtaposition of carefully-observed childhood psychology with an ever-present spirit-world felt very Studio Ghibli to me - there's a big My Neighbour Totoro energy in this. But the book also contains a cynical eloquence about the interaction between national politics and local unrest, as well as, surprisingly, some of the best fight scenes I've ever read. The protagonist's father is training to be a boxer, and the brutal physicality of his matches are reason enough to read the book.
Metamorphica - Zachary Mason
I read this while suffering from a bad cold, and the physical discomfort probably caused me to underrate it. Mason's thing is taking Greek Mythology (in this case, stories from Ovid's Metamorphosis) and playing with it, turning it inside out and rewriting it from new angles. It's all very Calvino/Borges, and there's nothing wrong with that. I preferred his "Lost Books of the Odyssey" (where he did the same trick with Homer), but maybe that's just because the idea felt fresher the first time around. I'd also recommend the notes at the back, which reveal that stories that felt like effervescent games are actually deeply researched investigations into the original texts.
Melmoth - Sarah Perry
A novel that sets itself up as a gothic pastiche, a sprawling horror story about a guilt-monster who appears throughout history. But this is actually quite a small, bleak, quiet novel. There is the sweep of history, and the odd moment of spookiness or hallucinatory weirdness, but they all feel pushed to the side. This is really a book about people forced into isolation by their pain - all its most intense moments are strictly realist. It's a slippery book, hard to remember, struggling to balance the story of the private lives of suffering introverts with its more fantastical elements.
What is not yours is not yours - Helen Oyeyemi
Fantasy short stories, beautifully and intensely written, with weird fractal structures. Often, you'll be reading about a bizarre happening, before realising you were only witnessing the life of a side character to the main event, or you were in a frame story and are about to be spiralled off into something much stranger. It's richly disorientating - not helped by the way characters and locations spill from one story to another: there are no discrete units here, narrative spills out of narrative. The stories themselves are dreamlike - all puppet schools, hidden libraries, doors that will not close unless they are locked. They are also, usually, queer love stories of one kind or another. It's a book that lets you rest in the inexplicable.
The Long Take - Robin Robertson
A book-length film-noir poem, following a World War Two veteran through a monochrome America. It's interested in cinema, and poverty, and is at its best when simply describing cities in grand flights of excitable language. As a description of a place and time, it's vivid. As a whole, though, it didn't click with me - as either a work about a character, or a story, or an exploration of ideas, or simply as an place to hang around with Good Words. I couldn't find a way in.
Electric State - Simon Stalenhag
There's a story here, about a road-trip across a post-apocalyptic America. And it's a nicely managed story, with clear hooky stakes, well placed twists, and some pleasingly effective nastiness. But that's not the point - Stalenhag is a painter, and the story is a frame for his visual art. Its most effective moments come at the end, when the prose cuts out completely, and the pictures take over. It often feels like the story is an excuse to show pictures of something extraordinary, but that's not always a problem. The world of the novel is an alternative universe where the aesthetics of 1990s technology are dominant - all chunky white plastic, brightly coloured shapes and heavy wires. It looks amazing, desolate, and like nothing else.
Veniss Underground - Jeff Vandermeer
Early Vandermeer - not as ambitious (formally or politically) as his Southern Reach trilogy, but bursting with all sorts of weird fun. A night journey into a cyberpunk hell, a retelling of the Orpheus myth, but with all sorts of genetically engineered monstrosities - this is a book that uses a science fiction lexis to build a big mythy fantasy, more interested in imagery than internal consistency. The urban, decadent body-horror aesthetic makes it an absolutely typical example of the "New Weird" movement (Mieville's "Perdido Street Station" was only three years before, this is absolutely working from the same playbook). One odd complaint - the current edition of the book from Pan Macmillan contains an unfinished short story set in the same world at the end. However, it doesn't clearly mark where the novel ends and the story begins - so I didn't realise that the book was over until an author's note arrived commenting on the story.
Space Chantey - R.A. Lafferty
Homer's Odyssey - in space! With jokes! Lafferty's thing was merging Science Fiction with the forms of Irish traditional tall tales. This is a big, silly, rollicking thing, with a self-consciously arch prose style - all its brawling space adventurers are kept at an ironic distance. It's completely shallow, and Stanislaw Lem (especially in the Cyberiad) is better at this sort of thing. But Space Chantey everything you'd hope for from a book with its title.
Fourth Mansions - R.A. Lafferty
Now this is a weird one. Like Space Chantey it's an SF/fantasy/tall tale hybrid, with a self-consciously arch and witty prose style. Unlike Space Chantey it's... a conspiratorial psychedelic Catholic allegory? Maybe? The plot is extremely hard to describe, but at its root is about a journalist investigating a number of secret societies, who may be fundamental constants in the unverse. A whole bunch of identity warping and body hopping ensues. The whole thing feels enormously 1960s, and is a fascinating curiosity, but is not necessarily a great novel in its own right.
Blonde - Joyce Carol Oates
I've read, and loved, a bunch of Oates. Mostly short stories, but also her magnificent horror/historical novel The Accursed. I thought I had better try some of her realism, but if I was attempting to avoid Gothic Melodrama, a fictionalised biography of Marilyn Monroe was probably the wrong place to look. It's a huge, sprawling, epic thing - Dickensian in its enormous scope, its heightened reality, its propulsive narrative drive. Oates' conceit is that Monroe's life was a mirror for all of 20th Century America: poverty, glamour, low culture and high literature, confused religiosity, sexual hypocrisy, and the highest political offices. It swings gracefully between brutal realism and highly stylised surreality. It's also exhausting and inconsistent. There's evidence that the real Monroe was more knowing and sophisticated that the savant-like innocent of Oates novel, but you don't read this book as a biography of Monroe - it's much more ambitious than that.
Shakespeare's Restless World - Neil MacGregor
From the author of "A History of the World in 100 Ojects", this has a similar conceit. Based on a radio series, each of the short chapters looks at a single object, historically and geographically adjacent to Shakespeare, and spins out an exploration of the chunks of history within it. It also links the objects to Shakespeare's writing, using the plays as historical sources in smart, unforced ways. It's bitty, and the chapters don't necessary build to a coherent whole (a legacy, perhaps, of its radio background) but it's illuminating, and goes down very smoothly.
Spring - Ali Smith
The third - and best so far - of Ali Smith's quartet of novels about modern England. This is urgently political writing, and its liquid prose perfectly balances anger and warm character-driven storytelling. While previous books in the series could sometimes set up characters as mouthpieces for sets of opinions, the handling is more subtle here: it digs deep by simply describing the workings of immigrant detention centres, and the lives of people imprisoned or working there. I can imagine that not all readers will be able to suspend disbelief at the wise-beyond-her-years child with apparent magical powers, but I think the fuzzy mysticism of that plotline works as a counterpoint to the bleakness. As with all of these books, the opening pages are an invigorating tour-de-force, magnificently furious about the state of Britain's discourse, and worth reading in a bookshop even if you've no interest in the rest of the novel.
The Templars - Dan Jones
An expansive piece of pop-history, and good at explaining all the ways in which the Knights Templar were *extremely weird* - deeply devout, stubbornly anti-intellectual, obscenely wealthy, very much into violence. When it has a good story to tell (especially the order's formation and fall), this is excellent, propulsive stuff. The problem is that much of the time the story of the Templars is quite a dull one - a repetitive series of desert battles where territory is gained and then quickly lost again. This is a long book, and there's only so much I can care about troop movements.
Ghost Story - Peter Straub
An attempt to mash up the commercial horror of the 1970s with the sensibilities of Victorian and Edwardian ghost stories: a group of elderly men regularly meet to tell spooky tales from their pasts, but the supernatural forces they remember are coming back to get them. There's some excellent extended sequences - long, atmospheric sections that would work well separated out as short stories. There's also a serious, Middlemarch-y attempt to define and explore the character of a town, which helps drive the stakes when the bodies start hitting the floor. But overall I don't think the novel works - it's a baggy, meandering thing, the nature of the threat isn't sufficiently well defined (either in terms of its in-fiction powers, or in terms of what it symbolises), and there's a nasty strain of misogyny to its final, predictable, revelations.
Madame Zero - Sarah Hall
A perfectly calibrated book of short stories. There's fantasy and SF in here (a man whose wife transforms into a fox, a dystopian future where abortion is illegal) but mostly this is literary realism, circling around themes of the distorted ways we understand each other's psychologies, and especially the ways male viewpoints distort women. The strongest story is "Evie", an exquisitely disturbing piece of psychological horror about a man whose wife is becoming increasingly libidinous: it weaponises its eroticism in impressively nasty, clever ways.
The Thirteen Clocks - James Thurber
A perfect children's book - in many ways its rotten fairy-tale gothic reads like Gormenghast-for-the-under-tens. The language is astounding - full of puns and poetry, breaking in and out of rhyme, dancing across all sorts of formal and metafictional tricks. The Ronald Searle illustrations are also amazing - wild and gloomy and scratchy. I wish I'd read it when I was about seven, when all the literary mechanics would have been able to fall into the background, and the book could have become a world.
The Wonderful O - James Thurber
A piratical villain arrives on an island and bans the natives from using any objects or concepts that contain the letter O. What you get, then, is oulipo for kids. Musch of this is a game, a huge tumbling catalogue of all the jokes you can make about words that do or don't contain certain letters. And yes, there's an allegory here, about colonialism and oppressive governments, but the focus is always on linguistic exuberance. The Thirteen Clocks is better, but this is cleverer.
An Account of the Decline of the Great Auk, According to One Who Saw It - Jessie Greengrass
Precise, finely crafted short stories, less interested in incident, or character, or ideas, than they are in recording the movements of their narrators' thoughts. The varied settings of the stories (a modern office, a nineteenth century sea-voyage, a dystopian future) become faintly irrelevant, blank surfaces on which to project the movements of imaginary minds; often the stories slip towards essays instead of narratives. Which is perfectly alright, especially given the pleasures of the intricate and careful prose, or the sharp - often uncomfortable - play of ideas. But I wouldn't expect anything gripping.
Peril at End House - Agatha Christie
The second Poirot I've read (my wife is a serious fan, so I feel its important to explore), this is further evidence for my instinct that Christie is extremely good at something I have no interest in. This is a puzzle, really - the plot a mechanism for dispensing clues, and most of the characters are simply pieces on a board. The Murder of Roger Ackroyd had a bunch of formal inventiveness and a real sense of a living community - this lacks that. It is, however, a very satisfying machine. And it's not without charm - the friendship between Poirot and Hastings is lovely - two men who find each other ridiculous, both of whom are correct. It's a shame that in the end the book leaves a bad taste in the mouth - its final line is an antisemitic joke.
The Book of Ptath - A.E. Van Vogt
A pile of rubbish, but an extremely *odd* pile of rubbish. 1940s pulp SF by an author who used to be extremely popular but is now (deservedly?) forgotten. This is about a World War II tank commander whose mind is projected into the body of a giant god, millions of years in the future, and who needs to fight to re-conquer a desert empire currently controlled by his evil psychic wife. Van Vogt used to base his novels on his dreams, and it shows. For all its attempts at weird grandeur, this is unfocused, far too short to make much sense (conquering the world in fewer than 180 pages) and full of the kind of nonsense words that people who don't like fantasy think fantasy is full of.
Invisible Man - Ralph Ellison
My God, this is amazing. It's a highly-respected novel from the 1950s about racial injustice and political organising: I expected it to be Important but perhaps a little dry and worthy. Nothing of the sort - its exhilarating: furiously propulsive and alive, pulsating with raw emotional intensity, all of which it accomplishes without flinching away from subtle, bracing political thought. Heady stuff then, and often powerfully upsetting. Part of its effectiveness comes from the fact that while its plot is the stuff of serious literary realism (a young black intellectual is kicked out of college and moves to New York, where he joins the communist party and eventually becomes disillusioned from it), the execution is often much weirder, skewing just a few degrees away from realism and into the realms of the allegorical or surreal. In the first chapter, for instance, the protagonist is living in a room full of hundreds of lightbulbs using power stolen from the electrical grid. This faint warping of the world pushes the book into an angry, passionate fantasia that switches between journalistic exploration and folk-tale purity at will.
In Patagonia - Bruce Chatwin
Literary travel journalism - Chatwin wanders round Argentina, visiting people and places, regularly digressing into anecdotes about history, or his own life. It's very well written, and there are number of fascinating stories and vivid images. But this is such a meandering, aimless book - short chapters arriving and dispersing like half-formed thoughts. Embarrassingly it kept putting me to sleep, even in public places. Which isn't to say it's boring - it's not at all boring - it's just that its rhythms are soporific.
Ways of Seeing - John Berger
Counterintuitive marxist art-criticism from the 1970s, and whether that sounds fun or hellish will determine how much you enjoy this book. It's refreshingly grumpy, uninterested in transcendence or beauty and instead seeing masterpieces as commercial products: oil paintings are simply status symbols, nudes remove humanity and replace women with objects of male desire. The arguments are lucid and readable, even when they start getting technical, although the wordless chapters consisting solely of images (supposedly making essayistic arguments) are sometimes too oblique to be useful. All its elegant irritability about what art means when art can be instantly shared and reproduced makes you wonder how much more bristly the book would have been if it was written in the age of the internet.
The Music of Chance - Paul Auster
I've read quite a bit of Auster now, and this is comfortably one of my favourites of his. It's a novel about self-destruction, asceticism, gambling, responsibility. It is, I think, an allegory for what it means to work under capitalism. It has a sleek, precise almost folk-tale-ish plot (at its core: a man driving endlessly across America meets a young genius-level poker-player; together they plan to win big money off two reclusive millionaires). It is fiendishly clever, full of all sorts of mirrors and patterns. A blurb quote describes it as a mix between Beckett and the Brothers Grimm, which is in many ways exactly right, but also doesn't capture what the book feels like. Because this also extremely good fun: Auster is so good at making complicated books go down smoothly, at setting up high stakes, at the textures of living, that this becomes marvellously entertaining stuff.
Pastoralia - George Saunders
Saunders' "Lincoln in the Bardo" is one of my favourite novels, but I've never had as strong a reaction to his (much-loved) short fiction. It's reminiscent of Vonnegut - abrasive, SF-adjacent, deeply moral, a light comic ease covering deep despair. The stories often have simple cores (a dystopian theme-park where actors live as cavemen, a self-help seminar advocating complete selfishness, a kindly old woman coming back from the dead as a decomposing id-monster) and spin those cores off into explorations of mortality, or the casual cruelty of everyday life. Recommended for fans of good jokes and sadness.
The Book of Swords vol 1 - ed. Gardner Dozois
I was in an English-language bookshop in Barcelona, with a fifteen hour coach journey ahead of me, and I thought "I just want some pulp". So this was ideal - a group of stories by contemporary commercial fantasy writers, where swords always play a central role. The best of them know that if you've picked up a book like this, you want some fighting and witticisms. So you get Walter Jon Williams, with a swashbuckling lawyer solving crimes in alternate-universe Elizabethan England, or Garth Nix doing a supremely inventive, densely characterised demon hunt in the snow. There's a nice, tightly circular story about blacksmithing and duelling techniques from K.J. Parker, and a grim, emotionally brutal medieval zombie story from Robin Hobb. At their worst, though these can feel a bit like D&D scenarios written up by someone with a thesaurus. Still, it's exactly what I wanted at the time.
The Magic Toyshop - Angela Carter
The third Carter I've read, and the first I've really loved (The Bloody Chamber was sparkling but felt a bit like a series of excercises - I probably need to re-read it; Wise Children is an amazing piece of work, but its exuberance gets wearing). On one level, this is a coming of age story, about a girl from a wealthy background having to live with a poor family under a monstrous patriarch, and as a piece of straightforward storytelling it is very effective. But there's much more going on here: a weird out-of-time aesthetic, occasional breaches of reality, magnificent prose, all sorts unnerving sexual symbolism. Without being a supernatural novel, it constantly feels like one. Also, good writing about folk music, which always bumps a book up in my estimation.
The Wine Dark Sea - Robert Aickman
Robert Aickman is almost always great: he's a writer of short fiction who works in the M.R. James-y tradition of the English ghost story. But Aickman's stuff is considerably more oblique and inexplicable than other writers in the genre, impossible things lurking just out of sight, and with the reader never given quite enough clues to decipher what is really going on. I'm a fan, but I don't think this is necessarily the place to start - "Dark Entries" is a more consistent and accessible collection. Sometimes the prose can feel a little stodgy, but this is always thoughtful and serious work: it's absolutely worth the effort for stories like "Your Tiny Hand is Frozen", about an addiction to a voice on the other end of the telephone, or the title story, which blends greek mythology with cosmic weirdness.
Indoctrinaire - Christopher Priest
Priest's first novel - it's an interesting experiment with some arresting moments, but never really flies. A researcher is strongarmed into a government mission, investigating a hidden facility in the Amazon rainforest. The frame is straightforward science fiction, but the mission itself is an absurdist, kafkaesque fantasy full of dreamlike imagery of architecture merging with human forms, and behaviour that doesn't attempt to make sense. Some late, perfunctory developments attempt to explain the weirdness, but they don't really stick: a more confident novel wouldn't have bothered with the rationale. Priest gets better later, but as a cryptic mood-piece this is alright.
The Infernal Desire Machines of Doctor Hoffman - Angela Carter
OK, so yes, this is amazing: it still needs a few more months to settle, but at the moment I'd put it alongside The Man Who Was Thursday, the Gomenghast books, and The Book of the New Sun as one of the best examples of what fantasy literature is *for*. The prose is astounding; the slippery, vivid worldbuilding is the perfect counter-argument to Tolkeinesque maps-and-languages; it's dense with countless ideas and implications. But this recommendation comes with a caveat: this probably beats Naked Lunch for title of "filthiest book I've ever read". During the protagonist's picaresque journey to defeat a scientist who has invaded his home-city with hallucinations, there are sexual encounters that break every possible taboo. It's a book full of violence, rape, paedophilia and bestiality. This isn't pornography - there's not, I think, any attempt to arouse the reader, and it's less about sex than about how sex is written about and thought about. But the book is sometimes sickening, and sometimes ridiculous - in both cases deliberately. You'll know if this is something you're ok with.
How to Be a Public Author - Francis Plug
Francis Plug is a pseudonym for Paul Ewen. Paul Ewen really *did* go to a lot of talks by booker-award winning novelists, and get his books signed "To Francis Plug". This book then imagines what those talks would have been like from the point of view of a chaotic, drunken force of nature, who hallucinates Julian Barnes levitating, and spreads rumours of the vicious murder of Ruth Rendell, all while apparently writing some sort of gonzo self-help guide. This is, as you've probably noticed, a really difficult book to describe - but it *is* extremely funny - on one level a satire of the whole idea of elite literary society, and on another a bizarre plunge into the mind of an extremely strange man.
The Book of Magic vol 2 - ed. Gardner Dozois
More pulp from the bookshop in Barcelona - this time a bunch of short stories about wizards written by contemporary commercial fantasy writers. More consistently good than The Book of Swords Vol 1, possibly because a wider variety of stories that can be told about wizards than can be told about swords. Highlights include George R. R. Martin's soupy gothic about a group of strangers gathered together in a mysterious roadside inn, and Scott Lynch's space fantasy about the sentient planet-sized stronghold of a dead sorcerer. There's not much rubbish here: most of it is airy, undemanding and inventive.
Rotherweird - Andrew Caldecott
This is pretty bad. A schoolteacher takes a job in a secretive town where there's magic, and everyone's a genius, and everything's sort of old-fashioned, and there are doorways into a sort of psychedelic otherworld, but an evil landowner has arrived and wants to mess things up. The prose is stodgy, there's no concrete sense of place (the eponymous town is odd but textureless) and it feels like the author's only real encounter with fantasy has been Harry Potter, which is a distractingly visible influence. When the twists start heating up and ancient secrets get revealed, everything descends into borderline incoherence. A book like this needs pace, warmth, tension, or intrigue - this lacks the lot. It's baffling how this got such a shiny production job and a good blurb quote from Hilary Mantel.
Everything and More - David Foster Wallace
And this completes my quest to read all of David Foster Wallace in my twenties. He remains (probably?) my favourite writer: the only writer whose fiction made me cry as an adult. Also, his prose style is wonderful, a rhythmic blend of the slangy and the literary. This, however, is *not* the place to start. Go in with Consider the Lobster, or Girl With Curious Hair, or even Infinite Jest if you're feeling brave. They're all amazing. Everything and More, unfortunately, is not amazing. It's a book about the mathematics of infinity. When it first came out, it wasn't well reviewed: people without STEM backgrounds found it hard to follow, people with STEM backgrounds pointed out that it was quite often wrong. There are a lot of equations. I reckon I understood about 60% of it. Still, for one last chance to inhale that prose style, it was worth it.
Die Vol 1 - Kieron Gillen and Stephanie Hans
I first got to know Gillen's work when he was a videogames critic, and his comics work is most interesting when it functions as much as criticism as narrative. Here, we have the story of a group of middle-aged people trapped in the world of the dungeons-and-dragons-esque game they played as teenagers. The atmosphere is bleak and gothy, the art is sharp and full of grandeur. But really, this is a vehicle for exploring ideas about how fantasy and RPGs work: what do rigid rules do to a story? Can game mechanics cheapen or pervert emotional truth? What are the implications of games that let people play as characters with genders different to their own? And what does it mean that so much of modern "nerd-culture" is riffing on a 1950s novel written by a traumatised veteran of the First World War? The storytelling falls away outside of these questions, which isn't a bad thing when they're addressed so thoughtfully. And the essays at the back about how and why the whole thing was constructed are easily as entertaining as the rest of the book.
The Other Place and Other Stories - J.B Priestley
A collection of supernatural short stories, these are very readable, sturdily constructed, and usually pretty throwaway. Often, they describe a shift of perception: characters suddenly start seeing everything through a wonderful or horrible lens: maybe there are monsters everywhere, or a conspiracy is working against you, or there are giant statues from the future all over town, or you are suddenly in the past. The two timeslip stories in the book, Night Sequence and Looking After the Strange Girl, are probably the strongest, both melancholy and uncanny.
The Reluctant Fundamentalist - Mohsin Hamid
A superb novel. In a cafe in Pakistan, a man tells the story of his life to a stranger: how he studied at an elite American university and worked for an elite American financial institution, before returning to his home country. But there's something not quite right about the meeting - and it's clear neither the teller or the listener are exactly as they appear. As a political novel, this is subtle and bracing: exploring America after 9/11 and how the decisions of powerful people and institutions interact with daily life. As a human story, it's satisfying and psychologically rich. But my favourite thing about it is its narrator - full of wit and charm, aware of how much smarter he is than his listener, and dangerously untrustworthy. My wife recommended this to me, and she basically has a 100% hit rate with recommendations.
The Wall of the Sky, The Wall of the Eye - Jonathan Lethem
Dark 1990s Science-Fiction stories, by a writer who is clearly stretching at the edges of the genre and preparing himself to jump into more mainstream literary-fiction. The quality is variable: some of them are functional but familiar reworkings of SF tropes and themes. but the best three are strikingly impressive and horrible and intense. "Five Fucks" is about addictive reality-warping sex in a universe that is constantly degrading and cheapening itself. "The Hardened Criminals" is about a prison where still-alive convicts are turned into bricks in the walls. And both are pretty full-on, but neither compares to "The Happy Man", about a character whose soul regularly migrates between his body on Earth and a particularly disturbing Hell: it manages to fit more upsetting ideas into forty pages than most writers do in their whole careers. A recommendation, then, but go in prepared.
One Hundred Years of Solitude - Gabriel Garcia Marquez
More impressive than it is lovable, but undeniably impressive. This books describes a century in the life of a fictional Colombian town, merging the mundane, the fantastical and the melodramatic. Multiple generations of characters have the same name, and their lives seem to repeat the stories of their ancestors, all of which leads to something extremely structurally and philosophically sophisticated: an interlocking jewelled pattern of narratives, where the pattern, not the individual stories, reveals the book's ideas about time, family, and the history of Latin America. It's all enormously clever, but rarely moving or gripping, at least until a thunderously beautiful final few pages.
This is How You Lose the Time War - Amal El-Mohtar and Max Gladstone
A delight. A romance written in letters between two women on opposite sides of a war: they're both highly-skilled time-travelling soldier-assassins dedicated to warping history so that their culture becomes dominant in the deep future. As they fight to undermine each other's work, they realise they're the only people who understand each other, and it's enormously sweet and lovely, but also tense - the stakes are clearly set up so that it seems almost impossible that this could be anything other than tragic. If you're familiar with time travel in pop culture, you'll guess where a lot of the book is going, but this doesn't blunt the impact of its big moments. It's also a formally interesting piece of work - the two writers were each in charge of a different character, and wrote and exchanged the letters in order, so what you're reading is the result of an improvised, exploratory game. You can feel each writer's excitement at the other's invention.
Unholy Land - Lavie Tidhar
Unholy Land starts off as a noir murder-mystery set in an alternate universe where the Jewish State was founded in East Africa, not the Middle East. It soon becomes very much *not* that - the murder is solved by the end of the novel, but by then much bigger ideas have arisen. It stops being a book set in a particular imaginary Jewish state, and becomes a book about the *idea* of a Jewish state, and all of the real, imagined, possible and impossible versions of the Jewish state that have appeared throughout fiction. It also becomes a metactictional novel about how SF functions, about the ways in which alternative history novels are and aren't useful vehicles for political thought. I found this patchily written and structurally unsteady, but the richness of its ideas more than made up for it.
Under the Pendulum Sun - Jeanette Ng
A gothic novel about Victorian missionaries in fairyland. Wonderful, unsettling stuff. The setting is rich - fairyland is magnificent (vast wicker whales tunnel under the surface, queen Mab's court is grand and masked and alien) but is also a crumbling stage set, a cheap fake where nothing is natural and nothing has history. The melodramatic psychology of the missionaries is also well pitched - all repressed surfaces warring against fervid desires. I assumed that this would be a postcolonial critique of Victorian imperialism, but it's not really interested in exploring those ideas - fairyland ends up far stranger and more dangerous than anything the British Empire could throw at it. It's more interested in being a horror-pastiche of Bronte-adjacent novels, and in taking its theology seriously. I have no idea about the religious beliefs of the author, but in some ways this reminds me of CS Lewis - a fantasia on Christian themes, and an allegory for sin and redemption.
Chess - Stefan Zweig
A perfect novella from 1941. It begins on an ocean liner, where the narrator realises that one of his fellow passengers is a savant-like chess champion. From that point it extends outwards - on one level it's a precise, witty story, with a neatness that defies realism. But then it becomes urgently, despairingly political, all its cultivated elegance collapsing into a howl. The smooth, graceful prose (translated by Asterix-genius Anthea Bell!), and the balance between visible artifice and painful realism reminded me of Paul Auster. Also, it's extremely good at the nature of boardgames: the weird halfway point they occupy between art and science, the psychology of victory when winning is meaningless.
I Feel Machine - Various Writers
A collection of six brief science-fiction comics about the ways people and technology interact. A lot of it feels scrappy, experimental, playful, full of gaps and ambiguities. There's some great stuff in here - Shaun Tan's "Here I Am" is about a human child raised in a bizarre but deeply loving alien world, and it is full of amazing visual invention. Erik Svetoft provides a highly effective story as well: a shadowy body-horror heist, where quiet, rubbery figures plug themselves in and out of computers. It's not all good - the final story by Krent Able leaves a bad taste in the mouth: cheap and nasty shock-horror where kids addicted to their phones brutally murder their parents while being mind-controlled by some sort of oily Freudian nightmare beast. It's gross and stupid and casts a pall over the rest of the book.
Embassytown - China Mieville
A novel about human colonists on a planet where the indigenous aliens have a particularly strange language (it is biologically impossible for them to lie, for instance, but the weirdness goes much deeper than that). Dogmatism, petty bureaucratic infighting and greed eventually lead to a zombie-apocalypse. It's tense and stressful, dense with spiky ideas, and Mieville has great fun with his scenery, a whole city built from gloopy infected biotech. This is, in part, a novel about linguistics and an allegory about colonialism. Second-tier Mieville (it's not in the same league as The City And The City, or The Scar), but this is still sophisticated and entertaining.
Travels with my Aunt - Graham Greene
One of my wife's favourite books, this is a knockabout comedy about a pompous, repressed bank manager who is dragged into a life of international crime by his elderly aunt. It's all very silly until it isn't: the end plays a lovely tonal trick which cloaks everything that's gone before in ambiguous darkness. When it's about anything, it's about living in a world scarred by the second world war, but mostly serious concerns are irrelevant. One note: the novel's treatment of race has aged *extremely* badly.
Hellboy Omnibus Vol 1: Seed of Destruction - Mike Mignola
What amazing art, what thin writing. This is a compilation of the first few Hellboy graphic novels. If you want to see monsters punching monsters for hundreds of pages, then it's is a reasonable option. Hellboy is a monster, his friends are usually monsters, they work for an agency that mostly hires and kills monsters. Problems they face include Rasputin, Nazis, the Undead, and some shapeless Lovecraftian things. The plots are an excuse to travel from one fight to the next. And yes, the sharply geometric high-contrast art looks amazing. But if you want the warmth and wit and detail-rich eccentricities of the two Del-Toro films, that's all missing. It's all quite dour. I've heard it gets much stranger and more experimental later on; I'm not sure if that means it gets better.
The Night Visitors - Jenn Ashworth and Richard V Hirst
I just like ghost stories, I think. This is an interesting counterpoint to "This is How You Lose the Time War" - both novellas written by two authors, in the form of letters between two women. Here, an aspirant writer gets in touch with her elderly aunt, who once wrote a bestselling and critically acclaimed novel. The younger woman wants to gather research for a book about a silent film star who was implicated in a horrible murder. Soon, things get sinister. Yes, there's a supernatural threat, but the most unnerving thing is how untrustworthy both narrators are - their motivations are unclear and each seems to be manipulating the other. Ghosts, of course, are always the sins of the past, repressed secrets, the things we try to forget: in this book the past is more frightening than the ghosts. Excellent stuff.
Mythago Wood - Robert Holdstock
This was a Big Influential fantasy novel in the 1980s but it seems to have fallen out of favour. Returning from the Second World War, our protagonist finds that the small woodland in his family's estate actually contains an infinite landscape of English myth. It's an odd book - it mostly takes place on the edge of the woods, a portal fantasy that's more about the portal than the land on the other side of it. And early investigations into the wood have a hippyish pseudoscientific feel - all the talk of ley-lines and psychic energies feeling like something you might find in a second-hand shop in Glastonbury. The politics are dated too: the one female character is literally the fantasy projection of a male character's mind, and there's something uncomfortable and unexamined about a world created from an inherited English race-memory. Still, it has its strengths: it's inventive and well written, with sturdy, literary prose that comes into its own when the book starts journeying into the forest.
Nova - Samuel R Delany
This is Prometheus in Space: the scion of a fading aristocratic family sets off on a mission to steal energy from the heart of a dying star, thereby striking a blow against the all-powerful industrialists running an increasingly large space-empire. There's a magnificently hissable villain and a thrilling finale, but this is a much stranger and denser book than it appears. It's part of the 1960s New Wave of Science Fiction, when the possibilities of 1920s modernism and the 1950s beat generation start getting folded into genre pulp. Nova bounces between time periods, registers and viewpoint characters, and is pushed forwards less by plot or character than by repeated images: characters who wear one shoe, an impossible musical instrument, the grail, an exploding star. It's no wonder that a book powered by systems of images is also deeply invested in the tarot, which appears again and again throughout the text.
The Uninvited - Dorothy Macardle
A 1940s haunted house novel from a forgotten Irish writer, this follows all the beats you'd expect. A brother and sister buy a suspiciously cheap house, the former owners left mysteriously, there are dark rumours in the local village about what really happened, subtle supernatural happenings become more intense, lives are in danger, multiple women faint, there's a wise local priest and a nasty incident involving a Ouija board. It's well crafted, and contains all the cosy autumnal spookiness you could want. Interestingly, it's structured like a detective story - no one is skeptical about the existence of the ghosts, and instead the characters focus on attempting to puzzle out what the ghosts *want*, as an attempt to remove them. The eventual solution to the mystery is clean and satisfying. Overall then, nothing you haven't seen before, but absolutely worthwhile.
The Earlie King & The Kid in Yellow - Danny Denton
In a dystopian future Ireland where it never stops raining, a street kid has impregnated the daughter of a supernaturally powerful gangleader. Meanwhile, strange figures such as Mr Violence and the revolutionary arsonist St Vincent de Paul lurk in the drenched shadows. With its Dublin setting, deliberate obscurity, and constant switch between registers and genres (the novel contains plays, poems, oral folktales, dense slang, pulp SF, and high-flown Serious Literature) the Joyce influence is pretty visible. Much of the ambition drains out in the final third, though, as it condenses into a sharply focused thriller. The real strength of the book is its atmosphere: a semi-mythical, richly described city under a deluge is a great place to spend time, and the book is, I found, a lot of fun to read out loud.
The Battle of Life - Charles Dickens
My third year in a row of reading an obscure Dickens Christmas novel in December. This one is presumably a Christmas novel because of its publication date rather than its subject - it doesn't mention Christmas, though it does have a general mood of goodwill-to-all-men. It's extremely slight, a quick dash through the romantic entanglements of two sisters, one of whom has two suitors. And like most lesser Dickens novels, the plotting is contrived and it occasionally trips up into a bucket of sentimentality. Dickens is at his best when he's allowed to sprawl, and there's no sprawl here. But he's still Dickens, so you still get blindingly good prose, strong jokes, an unshakeable moral core, amazingly vivid grotesques, at least one poignant death, and A+ descriptions of the weather.
The Three Body Problem - Cixin Liu
A Chinese SF novel from 2008, published in English in 2015, when it picked up a lot of buzz and awards. As the novel begins, we get the story of a physicist who was killed in the cultural revolution, and a present-day researcher dragged into an investigation about why prominent scientists are committing suicide. To say much more would be a spoiler - and this is a novel that is *extremely* susceptible to spoilers - much of the fun is watching the plot twist and writhe unexpectedly every forty pages or so. It does go to some pretty extraordinary places, and it's full of sinister conspiracies, complicated (but lucidly explained) physics, really interesting bits of Chinese history, hardboiled police work, and brain-melting cosmic weirdness. Occasionally the book's scale gets the better of it, the plot taking hard turn into the silly, but it never takes long to recover. It's a fast book that balances energetic bounce with serious ideas.