About Book Marks
Recent Reviews
Lorrie Moore
Rave The Spectator (UK) \"Sometimes a novel’s means are so strange, however compelling its final effect on the reader, that a straightforward account of it will be most helpful. I’ve read, or part-read, this novel three times now. On the first reading I gave up, shaking my head. On the second I got to the end, but thought it absurdly wilful, self-absorbed and idiosyncratic to the point of whimsy. The third reading – something, after all, must have drawn me back – exerted an appalling power, and I emerged shaken, troubled, but also consoled. Take your pick. This is a book that is going to divide people, and one that can look very different to the same reader in different lights ... Readers may be reminded of George Saunders’s Lincoln in the Bardo, the 2017 Booker prize-winner about the behaviour of the dead. For me, Moore is more compelling. She is unfailingly honest about what the grotesque and impossible situation might involve, and, unlike Saunders, never slips into what the literature of consolation might prefer to relax into ... It’s the honesty and specificity about the impossible that gives this moving novel its power ... When a book reaches out and speaks to a reader so clearly, one can hardly do anything but recommend it in the highest terms.\
Prince Harry, the Duke of Sussex
Mixed The Spectator (UK) My general view of the supposedly devastating revelations contained in this book is this: the publisher paid twenty million quid for this? ... One has to feel, to some degree, for the Duke of Sussex, though his account is unconvincing and horribly hurtful to some decent and honourable people who could never answer back ... His version of events is worth reading, although they must be read in conjunction with more detached versions ... Moehringer has made a decent-ish stab at simulating an English voice for his narrator ... This is a sad and a lowering book, and the saddest aspect of it is that he strangely believes that he is the person to lead a charge against the practitioners of the written word, to control and restrict it.
Keiron Pim
Positive The Spectator (UK) The story is staggeringly depressing. Marvellous as his novels are, Roth proves a bracingly horrible presence ... Pim’s achievement is all the more impressive when you realise that this life of the supreme novelist of place was largely written remotely, in lockdown. He somehow stays sympathetic through the worst of Roth ... Another gripe is the long plot summaries of each of the novels, which seem unnecessary since they’ve all been recently published in English. But that’s a minor complaint.
Haruki Murakami, trans. by Philip Gabriel and Ted Goossen
Mixed The Telegraph (UK) This book contains some startlingly banal observations on the writer’s world ... Set that aside and instead observe the idiosyncrasy of Murakami’s writing practices and beliefs about writing ... The aspect of the book I found utterly compelling are the stretches where Murakami accounts for what he says in his title, that novel writing is a vocation. I don’t think I’ve ever read someone who understands the almost horrible compulsion to his subject the novelist feels ... I can’t say that I learnt very much from this odd book, and a novelist as long-practising and often alluring as Murakami must have much more to say about the craft than he is letting on.
Graham Robb
Rave The Spectator (UK) This is a ceaselessly interesting, knowledgeable and evocative book about France over thousands of years. Is it at all likely to have been produced by a French writer? Though it’s about some deeply serious subjects, it’s very amusing; it makes no attempt to constrain itself within an overarching theoretical framework; it would be impossible to extract from it a grand statement beginning ‘The French are all…’; it is pragmatic, full of enterprising scholarly initiative and a gift for observation without intruding. Most strikingly, it’s a book about France in which the author has profitably spent a good deal of time outside Paris ... In my view, Robb is a national treasure twice over – a British one, and he ought to be a French one too ... not the place to go for a narrative account of the Revolution or the Revocation of the Edict of Nantes. Instead, what we have are distinct episodes of particular interest ... All this has a much fresher impact than yet another history quoting the memoirs of St-Simon and Lucie de la Tour du Pin. The book benefits from a combination of an unprejudiced eye looking at the site of the action and an interest in ferreting out the good witness, not just the one used by generations of historians to bolster their own conclusions. It gives the French experience of the first world war a new power – which Robb initially approaches in terms of the number of novelists killed in battle ... Robb is, of course, a keen cyclist, and perhaps the highlight of the book is a splendid account of the Tour de France ... This is a wonderfully energetic and illuminating book which, while never claiming to arrive at a single grand truth about the nation, makes the reader effortlessly understand just what it was like to live at one of these moments, however atypical its witness. It is the product of a lifetime of dedication, of thousands of cycled miles as well as years spent in libraries.
Lucasta Miller
Rave The Spectator (UK) Lucasta Miller’s task, which she carries out very successfully, is to strip away what we think when we think about Keats. She presents him to us as he would have struck his first readers ... Close reading teases out much of the oddity, and goes on to root it in the circumstances of Keats’s life ... This excellent book marks the 200th anniversary of the poet’s death. It enters an already crowded market of Keats biographies, but earns its place through its firm basis in precise reading. Miller is empathetic, and relishes Keats’s best phrases ... She is patient with the (to me) increasingly ludicrous critical readings of ‘To Autumn’ as really about the Peterloo massacres. She persuasively shows, however, that the predominantly indigenous word choices produce as politically charged a celebration of Englishness as the famous passage in Emma ... If you read the words, Miller persuades us, whether of the poems or the great letters, Keats is there, as new as ever.
Jane Ridley
Rave The Spectator (UK) George V is a peculiarly interesting subject for study. There were a number of major constitutional questions during his reign which required the Crown to take action. These were mostly the consequence of immense upheavals in society ... Both George and Mary have inspired great biographies in the past, including James Pope-Hennessy’s life of the queen. Ridley has written a magnificent new life — wonderfully funny, from its winning subtitle onwards, and full of human sympathy and understanding ... I wish conventions and proprieties had permitted her to interview perhaps the only living person with intimate recollections of George, HM the Queen. But failing that, she has produced an evocative and touching portrait of a surprisingly impressive man.
Peter Burke
Positive The Spectator (UK) Though it would have been better to have focussed on half a dozen genuine cases, exploring where real contributions have been made in different areas, Burke has nevertheless unearthed a fair number of bizarre show-offs, medical cases and eccentrics.
Alex Ross
Positive Spectator Ross has written a book about Wagner’s consequences with a striking omission — what he did with music, and what he did to music ... Nevertheless, it is possible, as Ross has found, to write a very long book about his influence which has almost nothing to say about the music itself, and which doesn’t find it necessary to talk about the music that was shaped by him ... It is an eccentric approach, but entirely possible ... Ross does a good and very full job in tracing the obsession of different times and places, and the intellectual flavor each wave took ... Ross is very conscious of the complexity of these questions, and how they have become more complicated with the passage of time. His omission of much consideration of Wagner’s music has the curious effect of making those who were obsessed by him sound somewhat deranged. This, however, is not always inappropriate, and much of the story is inevitably of gross misuse on both sides ... Ross’s book is excellent, and extraordinarily thorough. Though one occasionally misses a musically literate person saying something intelligent about Wagner there are plenty of books about that. Leaving the music to one side, Ross’s is a very thorough account of apparent delusion in search of a fugitive meaning.
Anne Tyler
Positive The Independent (IRE) \"... it\'s a concise and trimmed-down novel at the root ... One might gently suggest, from an observer normally so acute and precise, that Micah seems much more like an old man, with his pottering and his eyesight problems, than a man in his early 40s. But the novel still has her vividly evocative way with language, rooted in ordinary speech ... There is, too, the distinctive Tyler approach to ethics; she has thought deeply about the right way to live ... What is so moving about Tyler\'s work is that, always, we have the illusion that we\'re hearing what her people feel like saying, and no more than that.\
Charles Moore
Rave The Spectator (UK) ...outstanding ... This is a magnificent political biography, which takes its place next to Robert Blake’s Disraeli and Robert Caro’s Lyndon Johnson on the highest level. It is a huge literary challenge to make sense of lives of such public complexity: the topics of engagement must be separated out into their own discrete narratives, but an overall forward movement must be conveyed ... Moore does a superb job in conveying, towards the end of Thatcher’s time in office, the rioting in the streets, the resignations, the collapse of the Soviet bloc and the return of double-digit inflation, until the parallel narratives of themes subside into the single chronological story of betrayal and sacking. It is extraordinarily compelling.
Benjamin Moser
Positive The Spectator (UK) ... capable of detached bemusement at its subject’s unstoppable advance ... What still hangs around the room like a bad smell are the shell-shocked accounts of what engaging with Sontag in person could be like. These make this wry, clever, rather sly biography a richly engaging volume ... a memorable and evocative biography. It keeps a proper distance, and if it makes the occasional excessive claim for Sontag’s writings, especially the fairly negligible fiction, that is forgivable. Moser maintains sympathy, not just for his out-of-control subject, but for her quailing court. I wish, however, he had spent more time discussing the European intellectuals who encountered her and with whom, in a Paris cemetery, she was eventually buried. Did they think her as chic as she thought them? Did they honour the longed for comparison with Roland Barthes? Hard to tell from this account ... It’s going too far to call Moser’s biography comic in tone, but what it does possess is what its subject notably lacked — a sense that one of the tools of analysis, thought and intellectual engagement is the possibility of laughter; that laughter, in the end, may be a better tool than the customary hyperbole.
Colson Whitehead
Rave The Spectator ...[a] splendid new novel ... Whitehead’s institution is based on the Dozier School in Florida, but his book is not just a piece of documentary writing. It finds its justification in a marvellous play between the real situation and a novelistic artifice — one which, in the end, proves to be inherent in the human story. This is a perfect example of Marianne Moore’s comparing poetry to imaginary gardens with real toads in them ... Whitehead has embedded the horrible historical episode in what might initially seem the most artificial literary device imaginable, the mistaken-identity plot ... But the genius of the novel is that mistaken identity was simply the condition under which black American men existed in relation to the structures of power ... Along with the plain beauty of his prose, Whitehead’s achievement is in having thought long and hard about the implications of this indifference ... This is a heartbreakingly good novel. Its excellence doesn’t lie in the attitude it takes to a social problem, which may immediately impress prize juries. Rather, this is a book which should last because of the elegant refinement of its treatment, and the harmonious and deeply affecting balance it strikes between real-life conditions, and the requirements of the finest and most penetrating art.
Jonathan Keates
Positive The Guardian Keates is an enthusiastic, serious and careful writer, and this delightful book, though designed up to the hilt, contains a lot to muse over. I shake my head over the absence of music examples – the picturesque reproductions of Handel’s manuscripts are barely readable. Still, the author clearly knows what he is talking about, and illuminates what we thought we knew. No readers will get beyond the fifth page without finding themselves humming a very familiar tune or two.
Hans Fallada, trans. by Allan Blunden
Mixed The Guardian The book has a terrible hallucinatory quality – people arrive and disappear, offer help or resistance for no reason – which partly reflects the huge amounts of drugs and alcohol being taken by all involved ... The always tremendously punchy Fallada style sweeps the reader along; the murk and hysteria and chaos are (just about) contained. Not contained in this translation, however, which is careless to the point of the amateurish. The translator, Allan Blunden, has a tin ear for register, and some of Fallada’s most direct and concise slaps come out completely wrong.
Kazuo Ishiguro
Pan The Guardian In When We Were Orphans, the manner has, I think, become a problem. Again, the book has many virtues: it is surely developed and extended; it is full of ingenious variation; it builds to an admirable and satisfying climax. Its virtues, in short, are all architectural ones ... The single problem with the book is the prose, which, for the first time, is so lacking in local colour as to be entirely inappropriate to the task in hand. One can't only admire a book's structure ... Ishiguro's avoidance of phrasal verbs is a major problem here - it gives his narrator a circumlocutious, cautious air which isn't really very helpful ... Of course, there are splendid things in it; the games and huge terrors of a Shanghai childhood. Or the horrific descent into the lawless slums as Banks searches for his kidnapped parents, only partly marred by the way the prose will not budge an inch from its superb, unfeeling immaculacy.
Michael Chabon
Mixed The Guardian Chabon’s playfulness emerges in passages in which the novelist’s art is held up to examination. No one can see the Skinless Horse that follows the narrator’s grandmother around, but in the novelist’s descriptions, we see it. The narrator’s mother, late on, opens a family album to find that the photographs have been removed; she gives a cry of despair and then proceeds to describe them anyway. For us, the photographs are there, as they would always have been, in words. The problem with Moonglow, however, is actually a shortage of playfulness. The book presents itself as a memoir, however implausible some episodes, and however neatly events are made to chime with what Chabon must know is publicly known about his real life. (A hat belonging to a real-life first wife surfaces late on). But memoirs have their own characteristic style and sound, and this book just doesn’t attempt it...It is beautifully and absorbingly written. But the inventive poetry of the writing is that of fiction, and not of the memoir it pretends to be ... It’s a handsome piece of work, but somehow leashed ... Sobriety doesn’t really suit him: the wonderful spliff-heavy rapture of Telegraph Avenue and the transvestite with the tuba in Wonder Boys are more representative of his unique contributions to American letters.