MixedThe TimesOsborne, previously a travel writer, generates a superbly visceral sense of Bangkok as a buzzing, humid, contradictory place with yoga parlours and stray dogs, glorious flowers and seedy bars, temples, skyscrapers and ghosts. The characters, however, are less fully realised ... They are clearly supposed to be disconnected and dissembling, but at times their behaviour stretches credibility ... Stylistically, there are definitely some transcendent moments, but there are also a good few misfires ... The Glass Kingdom is definitely atmospheric, sometimes wonderfully so, but it takes more than atmosphere to build a new Graham Greene.
RaveThe Times (UK)... assured ... Cline is particularly good at locking in the witty detail that speaks volumes ... These expertly constructed stories withhold key information, relying instead on a build-up of inflections to reveal unpalatable truths about unlikeable people ... The tone throughout is numbed millennial cool. Privileged people are damaged and dulled by pills or trauma or arrogance or simple hopelessness. An overwhelming sense of emptiness is intensified by the Californian settings — the sunshine and big houses, the swimming pools, shopping malls and acting classes. Everyone is so horrid that it is impossible to really care, yet the pleasures here lie not in caring, but in an appreciation of Cline’s skillful and absorbing craft.
RaveThe Times (UK)Yes, this is \'boy meets slightly unattainable girl\', so everyone can relax: we are nestled, firmly, in the David Nicholls sweet spot ... Nicholls’s literary talents are impressive ... The interesting thing about Nicholls’s fiction, given this megawatt success, is how essentially modest and gentle it is. His talent lies in heart-rending and witty explorations of fairly ordinary subjects ... Essentially an uplifting romantic, he manages not to diminish life’s knocks and setbacks, while presenting them as survivable. It is practically impossible to review a Nicholls book without using the word \'poignant\' ... On this score, Sweet Sorrow does not disappoint: the sense of nostalgia is visceral and intense, almost time-bending. The danger, of course, is that this could all become saccharine and fey, but Nicholls is too astute to allow that to happen: he develops a darker layer to the story, underpinning Charlie’s universal experience of first love with a very specific, messed-up family situation ... I can’t help but wonder if Sweet Sorrow, with its perfectly honed British nostalgia and its focus on a supposedly “ordinary” boy, will have the desired effect on a reader who has not experienced an adolescence of drunkenness, bad eyeliner, pretentious talk and snogging in the wet summer grass, but perhaps these specifics will prove irrelevant; after all, as Shakespeare knew all too well, letting go of the past is a very human challenge.
PositiveThe Sunday Times (UK)Hannah Rothschild...is brilliant at unhinged aristos. The poisonous, deluded old matriarch Clarissa, who still puts on silks and furs for dinner, even though the servants are long gone and it’s a Chinese takeaway, is particularly good ... House of Trelawney is...an oddly uneven novel. There are coups de foudre, galloping horses, erotic cornfield romps and scheming beauties that might not be out of place in a Mills & Boon romance ... And yet this is also a charming satire that, save a few stodgy passages about money, is never dull ... Rothschild — a member of the banking dynasty and presumably no stranger to warped families and staggering wealth — is a witty, stylish storyteller and her overall message definitely feels timely.
MixedThe Sunday Times (UK)There is...a lot still to say about why grandmothers have been so overlooked by society. This, surely, could be important and fertile ground. But is it, here? There are just one or two moments, always with Nan, where a pinch of something more powerful spices up the narrative. But these moments vanish quickly, and for the main part the novel remains cozy. There is a rose-tinted view of the grandchildren as innocent and adorable. But this fond portrayal is uneven—I’m not sure many 12-year-old girls today would dream of falling in love with a Parisian saxophonist. The grandmothers also feel as if they have been given quirks to distinguish them. The result is a novel that will probably—and it seriously pains me to say this—be a tonic for grandmothers who are rightly sick of being culturally ignored, but it does not manage to challenge or surprise.
MixedThe Sunday Times (UK)...the plot becomes a bit of a stretch ... The narrative alternates between the present and 1982, moving towards a resolution of the central mystery...This keeps up the momentum, but also, because of the artifice of the set up, demands diligent and not always convincing justification ... Burton is an accessible, appealing stylist and writes with sincere gusto. She is particularly good at evoking a sense of place, whether a contemporary London house or a 1980s Hollywood poolside. A sharp intelligence beneath the romantic sensibility makes the less convincing story elements almost forgivable. What is less easy to ignore is the unconvincing and emblematic characterisation. Together with the plot, this makes The Confession feel more like stylishly written commercial fiction than a novel of any literary heft. Of course, there is nothing wrong with commercial fiction, people devour it. Burton, I suspect, will need to weather roaring book sales for some time to come.
PositiveThe Times (UK)\"... a doggedly quirky family saga ... McCracken is a firecracker stylist and every sentence, every image, is crafted for physical impact ... However, all the jaunty eccentricity and whimsy can feel tiresome, and in fact the quieter, more ordinary moments are generally more powerful ... Bowlaway though, is not supposed to be a quiet book. It is exuberant, a bit bonkers and raw and unflinching. It will find a great many fans — and no doubt some awards, too. If you enjoy quirks and eccentricities, cranks and loons, you’ll probably love it.\
MixedThe Times (UK)\"Paris Echo offers an eye-opening account not just of the hypocrisies of occupied Paris, but of the heinous treatment of Arabs by the French, and the interesting parallels between them. However, the set-up for all this (Tariq and Hannah sharing a flat) is less convincing ... There is much to learn from Paris Echo about the city’s complex identity, and about the way we view the past. However, without deeply compelling characters — or a powerful love affair — it can be difficult to connect with this story on a truly visceral, emotional level.\
PositiveThe TimesBitter Orange explores the stories we invent in order to bear enormous pain or guilt. Fuller, who is also an artist, can be tremendously subtle, and our perception can spin on a single, dissonant detail: a stray hair on a pillow, a noise beneath the bath. Vivid visual images also build an oppressive, off-kilter atmosphere ... This sort of thing is so good that it makes the standard gothic tropes—a dead bird, a mausoleum, a ghostly face at an attic window—feel heavy-handed. The denouement slinks close to melodrama, and therefore feels slightly disappointing. But the real interest lies in the fascinating gaps and contradictions, the complexity of the characters and the thematic richness.
PositiveThe TimesThe Poisonwood Bible was recently voted Britain’s favourite reading-group book. This fanbase will not be disappointed by Unsheltered, which is crammed with talking points ... Kingsolver’s power lies in her ability to expound big ideas without losing sight of life’s pulsing minutiae ... It is a wise message for turbulent times.
PositiveThe Times (UK)Some serious novels fling open their doors and usher the reader towards rich and transporting pleasures. Others demand more investment and toil. Sight, Jessie Greengrass’s debut novel, falls into this latter category ... Sight is a bookish young woman’s exploration of her shifting sense of self as it is funnelled into motherhood. We follow the first-person narrator from her early twenties when she loses her own mother, through meeting her partner, agonising over whether to have a baby with him, then having the baby ... Her heartfelt self-examination at every stage is broken up by accounts of historical figures that resonate with her preoccupations. We learn, for instance, about the 19th-century physicist Wilhelm Röntgen, the inventor of the x-ray machine; and about the life and work of the 18th-century surgeon John Hunter, whose collection of anatomical curiosities the narrator visits at the Hunterian Museum in the Royal College of Surgeons ... The poise, intelligence and serious intent of Sight will be lauded, and rightly so. I would not be surprised to see it on heavyweight prize lists. It might, at this point, seem superficial or even petulant to ask: \'But is it enjoyable?\' If you need to pose such questions (let alone have answers to them), then perhaps this is not the book for you.
MixedThe TimesThis story is told mostly from Gwen’s perspective, but her inner life is never fully realized. A first love affair with a wealthy financier feels strangely uninhabited. A later abortion, which he pays for although it has nothing to do with him, is seen retrospectively and from his irritable perspective. The death of her first baby is again brief and retrospective. Her decision to abandon her small daughter to strangers also goes unexplored ... erhaps more puzzling, we do not venture into her creative mind. Consequently, Gwen is defined primarily in relation to the men who abandon, mislead and disappoint her. Phillips can be a lyrical, transporting stylist and his focus on Gwen’s displacement has profound thematic resonance. However, the fascinating, unhinged, alcoholic, furtively ambitious, self-destructive and brilliant \'Jean Rhys\' remains offstage, howling in an attic somewhere, unseen and definitely not happy.
RaveThe Times (UK)Sittenfeld’s stories often turn on clever timing: a perfectly paced misstep, a revelation ... The downside, oddly, is exactly what makes this collection work: its narrow focus. Her world (like Jane Austen’s) is brilliantly accurate, and culturally limited ... impossible to put down.