PositiveThe GuardianAs I read Blossoms in Autumn, a collaboration between the Belgian writer Zidrou and the Dutch artist Aimée de Jongh, I thought more than once that it was not quite to my taste. I found the dialogue a little cheesy; I hate the fact that the arc of its plot suggests a woman can consider her life a failure if she has not had children. In the end, though, these things didn’t really matter. Sometimes, a book pierces your heart like an arrow in spite of its faults and Blossoms in Autumn was, in my case, one of these. The story of an older couple who fall suddenly and unexpectedly in love, it has a rare sweetness, a glorious innocence that is unusual even in the world of comics ... I won’t give away the book’s improbable and (to me) somewhat infuriating ending. But Zidrou and de Jongh have caught something both beautiful and true.
MixedThe GuardianAll this is fascinating. Nevertheless, part of me can’t help but wonder what Wilson’s book is for. For one thing, she has relatively few answers when it comes to effecting change ... A much bigger problem, though, is that books like this preach only to the converted. Nobody who disagrees with the essence of what she has to say is likely to pick it up – and even those who are on her side, as I broadly am, cannot read her in isolation. The din coming from elsewhere is simply too loud ... Wise as she is, she only has her finger on the dam.
Gebe Trans. by Edward Gauvin
RaveThe GuardianIts primary subject being political complacency, this is a comic that speaks to this moment almost as vividly as the one that inspired it ... Gébé is interested in the influence of nostalgia on groupthink, something that has only grown the more corrosive in the decades since Letter to Survivors first appeared ... This is a book whose relative brevity and outward simplicity may, on a first reading, obscure its deep philosophical richness. It is, somehow, so incredibly French and all the better for it. To be read when you’re feeling at your most calm, possibly while wearing a black polo neck.
RaveThe GuardianOff Season combines a blue-collar setting with a prose style so pared down, it comes almost as a surprise to feel a lump suddenly rising in your throat as you turn its pages ... Sturm...has many gifts, but perhaps greatest among them is his ability to capture the sudden crosscurrents that come with any intimate relationship ... I cherish many things about this book, from the way it deals so delicately with the (often toxic) issue of masculinity in Trump’s America to the many shades of blue-grey in which it is drawn (every scene, whether in a diner or the offices of a marriage counselor, comes with a hint of darkness) ... There is a sweetness here—trace it back to Charles Schulz—that both mitigates against the story’s existential sadness and deepens it, somehow. It democratizes Sturm’s characters and, in doing so, reminds the reader at every turn that the U.S. is growing ever less fair almost by the minute.
Luke Jones and Anna Mill
RaveThe GuardianThis exquisite book...isn’t a very talky comic; its subject matter, which has to do with the dangers of the digital future, dictates that the dialogue is ever minimalist, Mill’s incandescent images doing all the work, and more, of words. Nevertheless, following the action requires serious concentration, and it may be that some readers will, as I did, struggle to follow the storyline. What precisely happens in its last pages? Even now, I’m not sure I’d be able to tell you. Perhaps, though, that’s half of the point. Mill, a professional illustrator, and Jones, an architect...are dealing in their book in confusion and half-truths, their landscape a desolate near future in which the boundaries between memory, dreams and data have begun dangerously to blur ... I’m not recommending Square Eyes for its dystopian plot, for all that it may scare you half to death should you think about it for too long. What truly sets this book apart is its extraordinary illustrations ... beautiful, teeming, phantasmagorical page ... It would be worth buying Square Eyes for her monochrome depictions of brutalist architecture alone, images in which she manages to make huge expanses of concrete seem both solidly cliff-like and unfathomably ghostly. So much sheer, bloody work has gone into this book, and in our instant culture, an environment it also happens to excoriate, it fairly takes the breath away.
MixedThe Guardian\"... each of the essays in it comes with the mild but confounding sense of lifelessness and disorganisation one often finds when reading words that were written originally to be spoken aloud ... I think, too, that we’ve probably already heard quite enough – too much – about Wilde and his strange, passionate family... Reading about all this again made me feel as I do when I’ve eaten too much cake. All the same, there is something interesting and insightful to be found on almost every page ... I cannot tell you how affecting I found this: Tóibín’s open-hearted interpretation of the letters almost as much as the notes themselves. Desire goes on and on and on, and never believe anyone who tells you otherwise.\
PositiveThe GuardianInteresting and clever ... The Missing Ingredient is the result of a great deal of research; it’s also the product of a 25-year career in food writing, something you feel on every page. Yet its arrival couldn’t be more timely.
MixedThe Guardian\"[Plath\'s lettters to her psychiatrist] don’t make volume two, which covers the period from Plath’s marriage until her death, worth your time in its entirety. Running to more than 1,000 pages, it comes with all the same problems as its predecessor ... But Frieda [Hughes] was right: the letters to [Plath\'s psychiatrist] are extraordinary, throwing vital light on Plath’s mental state in the period after she discovered Hughes’s affair with Assia Wevill ... [Plath] is needy and demanding, suggestible and narcissistic. I should say that none of this remotely bothers me... But it will trouble some, and over the course of so long a book, Plath’s voice, hectoring and frequently manipulative, is undoubtedly wearying.\
MixedThe GuardianMoney often takes centre stage in Behind the Throne, Adrian Tinniswood’s juicy new domestic history of the royal household, which begins with Elizabeth I and ends with a future king who – if the stories are true – is not inclined so much as to squeeze out his own toothpaste ... I didn’t admire Behind the Throne half so much as Tinniswood’s brilliant last book, The Long Weekend, in which he served up life in the English country house between 1918 and 1939; this volume, romping through several hundred years of history, wants for its beady focus. Nevertheless, it’s often delicious – as piquant as the green salad with which Edward VIII liked to eat his cold grouse.
PositiveThe Guardian...its primary subject is voicelessness ... All of the power of Home After Dark lies with his meticulous pen and waterproof ink drawings ... While another artist might not have been able to resist giving his story a happy ending, Small doesn’t quite go there. He is never sentimental.
RaveThe Guardian...[a] tender, complicated narrative ... If reading it makes you think long and hard about neurological difference and the isolation it may involve, it also reminds you that we all feel weird at times – as if we are, as she puts it, only passing for human ... This book comes with a lot of whimsy: shadows that walk and talk; a god that is a queen on a cloud ... Her biblical-mythological interludes don’t always work. Somehow, though, this doesn’t matter – and not only because it’s impossible not to admire both her ambition and the beautiful economy of her line drawings ... There is a resonant truth at the heart of this book, and it soars above everything else.
Liv Strömquist, Trans. by Melissa Bowers
RaveThe GuardianIf her strips are clever, angry, funny and righteous, they’re also informative to an eye-popping degree ... It feels unfair to single out one section of Fruit of Knowledge for particular praise; every page is so fantastically acute. The chapter on menstruation, in which Strömquist goes after the tampon industry and its obsession with the words \'fresh\' and \'secure,\' is particularly good; so, too, is her nifty send-up of Dr Freud. But I think I like it best when she invites the reader to imagine the patronizing sexual advice that is regularly doled out to women...being given to men instead.
PositiveThe GuardianMany of the attacks on him...took a highly specific and more pernicious form, and it is Michèle Mendelssohn’s account of these that constitute the backbone of her revelatory narrative—a retelling of Wilde’s American adventure that genuinely makes you rethink vital elements of his life and work ... Nineteenth-century America might well have been a land of immigrants, but it had a [racist] social hierarchy all the same—one that clumped Irishmen (like Wilde) and blacks together right at the bottom ... Harper’s Weekly published an image of a monkey dressed as Wilde; in New York, a woman announced to his face that she was glad to have seen a gorilla at last ... Mendelssohn very skilfully reveals the impact these attacks had on him: not only the misery they caused but also, in the longer term, their effect on both his public persona and his work ... Lord Illingworth in A Woman of No Importance is, she believes, a near relative of the blackface dandies who parodied Wilde while he was on tour ... Mendelssohn’s research is prodigious; she has tapped sources previously unavailable to other scholars ... It may be that we can only see him as a victim of the attitudes of his age, when, at key moments, he was also in cahoots with them, an accomplice after all.
RaveThe Guardian\"Brown has done something amazing ... It is a cubist book, a collection of acute angles through which you see its subject and her world (and, to an extent, our world) anew ... His reading has been prodigious: not only the diaries of everyone from Chips Channon to AL Rowse, but dozens of gruesome royal biographies and memoirs...Together, these things conjure Margaret in all her dubious glory. Nancy Mitford likened her to a \'hedgehog covered in primroses,\' but the reader will come to feel this is unfair to hedgehogs.\
RaveThe GuardianClever, funny and disarmingly honest, it is, of course, predictably lovely to look at; Thompson is a master sketcher. What I like about it most, though, is the way it acts as an antidote to the all-seeing, all-consuming power of the smartphone. As its author notes in his opening pages, no cameras or mobiles were used in its making: his eyes and his brush pens did all the work ... A lot of this was terribly and painfully familiar to me, and will be to anyone who has travelled alone. The highs are incredible: those sudden epiphanies in which you’re consumed by a sense of freedom and privilege. But then, of course, there are the lows, when you must face up to how unexpectedly pathetic you are: unable, sometimes, even to leave your hotel room, however grim ... Thompson captures all of this, and if his narrative is, as a result, sometimes a little claustrophobic, you always forgive him for it. All human life is here: in his head, as on the teeming streets.
RaveThe Guardian\"... Edmund White, the tone of whose new book, The Unpunished Vice: A Life of Reading, quite often resembles the gentle whisper of a sweetheart. Ownership, you see, is not at all his style. In fact, he doesn’t claim always to understand the books that he loves most ... White’s book is a collection of essays, each connecting the seemingly thousands of books he has read – I find it impossible to imagine anyone better read than White, though with typical modesty he insists he knows lots of people who are – to his long writing life ... White isn’t in the business of pressing books on the reader. He merely considers them, almost as if he were thinking out loud: why they work, what their particular qualities might be.\
RaveThe GuardianThis is a panorama, one that feels in some senses definitive (largely, perhaps, because he has the guts to turn periodically away from the most famous figures of the time, the better to allow other names—David Bomberg, say, or Victor Pasmore—a look in). But it also swirls excitingly. Even the long, drawn-out conflict between abstraction and figuration appears here not as some dry, academic thing, but as the very air artists breathed—and on which some of them would end up choking ... Gayford deploys [Francis] Bacon’s voice to brilliant effect, and you hang on to every word, from his conviction that he wanted his pictures to look as if a human being had passed between them, leaving a trace of human presence \'as a snail leaves its slime\' ... In Modernists & Mavericks, then, he [Bacon] is inevitably the star around which all the other planets orbit.
Emily Jane Fox
MixedThe Guardian[Cooke\'s] breathless prose is neither quietly angry nor laced with irony ... [the] text often reads like nothing so much as an elaborate cuts job ... Fox’s book is a gossipy family study; by design, it touches on politics hardly at all ... All in all, [Born Trump] fairly makes you weep, though whether from boredom or because no fewer than three of these people are now installed in the White House, it’s sometimes hard to say.
MixedThe Guardian...very sensible but also somewhat dreamy and a bit obsessive ... In a way, it’s like a book for children. Every animal has a name – Araminta, Black Hat, Dorothy – not to mention parents, brothers and sisters. Most have adventures, albeit not massively exciting ones ... After a while, though, you get used to all this, and as a consequence the world does indeed tilt. Or bits of it, at least. This book will change forever the way you see a field of ayrshires or friesians ... Young’s style, careful and straightforward, is extremely soothing; her book should be prescribed for anxiety. But it doesn’t, it must be said, answer all one’s cow questions.
RaveThe GuardianDiane Atkinson’s detailed and authoritative Rise Up, Women!...seems to me to be pretty much a definitive history of the suffragettes ... Given both the length of her book (the text runs to almost 700 pages) and the nature of the sometimes internecine squabbles of the Pankhursts and their associates, the only tiny steps forward the campaign was at times able to take, it’s a huge achievement that her narrative, so crisp and clear, is never less than enthralling; it rushes along with all the speed of the motorbike in whose sidecar the released Kitty Marion would later niftily elude the police.
Seymour M. Hersh
MixedThe Guardian\"...it seems a bit much when, determined not to leave anything out, he resorts literally to running lists of the other, smaller scandals on which he worked in between. Detail swamps his narrative, like creeper clambering over an ancient Mayan ruin, and for the reader, hacking through it is completely exhausting ... Hersh might be a monomaniac, but he deserves all the respect in the world for the work he did then [on My Lai].\
Bill Clinton & James Patterson
PanThe GuardianThis novel is indeed missing several things, including a believable plot and even the remotest sense of narrative tension. The president, however, is not one of them. OK, so he briefly slips out of the White House minus his Secret Service detail, the better that he might meet an actress friend who will give him distracting new eyebrows to match the beard he has grown in record time (so very manly, this particular leader of the western world). On the other hand, given that he is the novel’s principal narrator, we always know where he is, be it bunker or bathroom. He’s also, incidentally, just about the most reliable narrator ever written in English, even if he does say everything in a present tense so weirdly emphatic and muddled, you half wonder if American is his first language—or his second (\'Her face once again becomes a poker-face wall\'). He does not lie. He does not dissemble. If he tells us he’s \'enjoying the comfort\' of the embrace of the Israeli prime minister—don’t panic: it’s not what you think—we’d better believe him.
PositiveThe GuardianIs it possible to trace the \'weird nativity\' of Shelley’s celebrated novel Frankenstein, which she would begin writing only 18 years later ... The poet Fiona Sampson believes that it is ... there is no doubting the impact of Wollstonecraft’s death on her life. It runs like a thread through everything she does, and everything she is, and while Sampson’s sense of this may sometimes be a touch 20th century – her recourse to what \'the psychologists\' have to say can be wearing – it is also the chief virtue of her daringly swift and enjoyably irreverent retelling of Shelley’s life. At the heart of her biography lies a paradox, which is that its engine is powered by absence and loss. Even when the action is at its most frantic, Sampson never loses sight of the gaping void below.
PositiveThe Guardian\"Her new book is, she writes in an enticing introduction, an attempt to reverse the situation whereby biography, the writing of life, has become indifferent to the \'vital signs\' of that life – to breath and movement, to touch, taste and smell. One can’t help but sense in this a certain weariness. Who can blame Hughes, the author of major books about George Eliot and Isabella Beeton, for wanting to try out a different kind of narrative, one both more visceral and less gargantuan? ... Nevertheless, she has a point. How many times have you ploughed right to the end of a long biography only to find yourself asking: yes, but what was she really like? ...
None of this is to say that I didn’t enjoy Victorians Undone. Some of the encounters in its pages, whiffy and indelible, will stay with me forever.\
MixedThe Guardian\"Dean’s book is far from perfect. She skims where she should dive; her tone is unvarying, with the somewhat dispiriting result that her essays are considerably less distinctive than the women they portray ... Above all, I’m resistant to the way she struggles with what she clearly regards as her subjects’ disappointing attitude to feminism. It’s not only, as she notes herself, a question of historical context. Like so many others right now, she seems to have forgotten that, even five years ago, you would have been hard pressed to get many, if not most, women in the public eye to call themselves feminists. Nevertheless, this is a great and worthy project: a primer for those for whom these names are new; a sustaining reminder for those already familiar with them. You put it down feeling steadier, more determined.\
PanThe GuardianHaving never really fancied him much as a reviewer – I dislike the pomposity, and (call me old-fashioned) I’ve learned not to trust his taste – I don’t really have it in me to go on about the impossibly high standards to which he holds other novelists, and his unerring failure to live up to them himself ... But still, what a strange and disappointing novel this is, its nuts and bolts so much in evidence there are times when what it resembles most is a diagram: a scheme, all long arrows and stark oppositions, to be marked out on some college whiteboard ... Fiction should cast a spell, not send you to Google, searching for the names of homeware stores in Morpeth and the Metro centre.
RaveThe Guardian\"Whether by accident or design, something of the oddly pale quality of Christie\'s fiction has leached into Thompson\'s own book. Agatha Christie, as she appears here, is as elusive as ever - which is, I\'m afraid, exactly the way she would have wanted it.\
RaveThe GuardianVery few cartoonists are able to convey so wide a range of emotions while also keeping their drawings so fluid, so wild – and she has charm and wit to spare. But with Brazen: Rebel Ladies Who Rocked the World, she is truly in her element. This book already feels like a classic, one to be loved by every girl who reads it from now until the end of time.
RaveThe GuardianThere are two things you need to know about it. The first is that what Mary Beard has to say is powerful: here are more than a few pretty useful stones for the slingshots some of us feel we must carry with us everywhere we go right now. The second is that most of its power, if not all, lies in its author’s absolute refusal to make anything seem too simple ... Beard knows that the matters with which she is concerned are extremely complicated. Before she arms you, then, she makes you think. In this sense, if no other, Women & Power deserves to take its place alongside Kate Millett’s Sexual Politics, the text that first suggested literature as a medium for consciousness-raising ... What I relish about Beard’s approach is that once she has told us all this – I am not a classicist, so some of it was new to me – she doesn’t simply sink down into disapproval and hand-wringing (the fatal flaw of so many recent feminist texts). She wants to know: how can we be heard? And her answers are radical.
Richard Lloyd Parry
RaveThe GuardianIn the face of several grief manuals that have been published this year, Richard Lloyd Parry’s account of the 2011 Japanese tsunami and its aftermath arrives like a ghost at the feast, its mind set not on platitudes, but on the very hardest kind of truth-telling ... This is not, then, a book of easy consolation. It is, as it should be, painful to read. All the same, every time I think of it, I’m filled with wonderment (and, I suppose, professional envy). Lloyd Parry is such a good reporter: discreet yet unsentimental; ever-present, but able also swiftly to absent himself from the page. He never overwrites. His capacity for intimacy with relative strangers is a kind of gift ... It is hard to imagine a more insightful account of mass grief and its terrible processes. This book is a future classic of disaster journalism, up there with John Hersey’s Hiroshima.
Sylvia Plath, ed. by Peter K. Steinberg & Karen V. Kukil
PanThe Guardian\"Lugging around this rusty anchor of a book – it runs to more than 1,400 pages – what I felt mostly was exasperation. The notion that Plath’s every utterance is sacred would be dumb even if she ranked with Keats or Waugh as one of the truly great letter writers. The fact that she clearly doesn’t – the majority of those in this volume, written to her mother, Aurelia, are marked by their quotidian sameyness – only makes it seem the more vacuous ... The reader, then, is entirely in Plath’s hands, which is not only tricky in narrative terms – ellipses come as standard in correspondence of which you get to read only one side – but also perilously unbalanced. Where does the truth, or what passes for it, ultimately lie? The editors offer us no rudder ... Plath’s letters to the men she imagined she loved before Hughes have a certain too-muchness: a risky intensity of feeling that brings to mind a circus knife-thrower marking an outline with her blades. So, too, do the 16 love letters, owned by her daughter Frieda and now published for the first time, that she wrote to Hughes in 1956, the year they married (and the book’s cut-off point). Nevertheless, it is for these last that you should borrow this collection from your library, and to which you should turn once it’s in your hands. They alone make the prospect of volume two seem fully tantalising.\
PanThe GuardianWhile most biographers regard the unpicking of untruths as central to their work, Kraus has a different approach. As the reader will shortly discover, her opening line is a get-out clause. If Acker did indeed lie 'all the time', as she also asserts, Kraus doesn’t necessarily see it as her job to dismantle those deceptions. At best, she is too credulous. At worst, she is haphazard, even lazy ... It’s not only that so many of the stories she tells about her are so hilarious (impossible to believe that Kraus doesn’t know that the majority of these anecdotes are way beyond satire). Rather, it’s that she singularly fails to make a case for Acker the writer ... She ends (and what a relief it is when that moment comes) with what I can only describe as a little hymn of identification with Acker. In a book full of baffling, queasy-making things, this is surely the most befuddling of all. Kraus, whose own novels are rather good, is so much the better writer, even if, this time around, her id seems sometimes to have wrestled her ego to the floor.
RaveThe GuardianTamaki’s short comics, as they appear in her aptly titled new collection, Boundless, all have this surface lightness; they’re never anything less than droll. But something sharper and darker is simultaneously at work below. Fleeting as they are – most can be read in as long as it takes to order and receive a latte – each one is as indelible as it is singular ... Each one is so beautifully told that after a while you begin to feel that Tamaki, whose last book, SuperMutant Magic Academy, was a New York Times bestseller, is capable of almost anything. And perhaps she is ... these are models of the form.
RaveThe GuardianThree months, one room. This is, to say the least, extremely challenging territory for a cartoonist. Somehow, though, Guy Delisle has turned André’s account of his weeks of hell into a gripping visual narrative ... In Hostage, it’s the treacherous landscape of the mind that Delisle determinedly makes his own ... Looking at these cells within a cell, every corner of André’s prison depicted from every possible angle, you’re able to absorb the terrible accretion of time in a single glance – at which point you suddenly grasp just how well the comic serves this particular story. All this darkness and claustrophobia shouldn’t be exhilarating. The fact Delisle makes it so is yet another reason why he must be counted as one of the greatest cartoonists of our age.
PositiveThe Guardian...a weird and restless book preoccupied with decaying and destroyed landscapes ... Radtke has a grand theme, but not much by way of what you might call a narrative arc. But her writing is never less than lovely, and her black-and-white drawings are masterfully eloquent: at once vivid and faded. Think Shelley’s Ozymandias, with light top notes of Alison Bechdel and Adrian Tomine.
MixedThe GuardianIt is rich and scholarly, something fascinating to be discovered on every page. But it is also digressive, meandering. Her stated theme – how did the men and women whose tales she tells feel about their physical selves? – comes in and out of focus. Each essay works beautifully alone. Hughes is a thoroughly engaging writer: serious-minded but lively, careful yet passionate. In its entirety, though, it feels strained, uncertain of itself. The pieces do not quite fit together ... None of this is to say that I didn’t enjoy Victorians Undone. Some of the encounters in its pages, whiffy and indelible, will stay with me for ever.
RaveThe GuardianOllmann spent 10 years researching Seabrook’s strange, ramshackle life, and it shows: his book is wonderfully rich and detailed. Nothing seems to escape his attention or his compassion, whether we’re talking about Seabrook’s interest in S&M or about the long-suffering women in his life. His drawings of Seabrook, blunt-lined and scratchy, are a perfect match for his personality, which is at once charming and repulsive, fascinating and frustrating, while his depictions of such things as camel raids and tribal dances have a romantic, overblown quality, almost as if they are only figments of Seabrook’s imagination. In a way, of course, they are. In the end, this is not so much a simple biography, as a book about writing, and just how painful it can be when the words on the page don’t adequately match the pictures in a man’s head.
MixedThe GuardianHis relationship with [the diaries] is, however, strange – and for this eager reader, vexing. He doesn’t whip through them, urgently seeking some clue as to their author’s identity. Nor does he put them in chronological order, or not for some years. Instead, he faffs around, looking at them piecemeal ... Masters’s stubbornness is of a different order altogether. It’s a condition, something to be looked up: Extreme and Wilful Procrastination ... if this stuff had to be exhumed at all, at least it was Masters who did the job; a more loving undertaker you could not hope to have ... At his best, Masters is a beautiful writer: funny, inquisitive and attentive...But he has allowed his whimsical side to get out of control; his circuitous, over-involved technique feels out of kilter with his subject.
PositiveThe GuardianThis a darker book than its predecessor, though it’s still drily funny, Sattouf never failing to make the most of the aching gap between his father’s fantasies and reality. Clémentine’s melancholy clouds the story’s edges, while centre stage is Sattouf’s schoolteacher, a foul woman who uses violence and intimidation to rule the crowded classroom where she so enthusiastically preaches pro-regime propaganda ... To find out [more] , alas, we have a long wait. Volume three isn’t due until September 2017.
RaveThe GuardianAs reckonings-up go, this is a sombre ledger; I never stopped wishing that this book had not needed to be written, that the experiences that gave birth to it had not happened. But Matar has turned it into something exquisite, too. Shafts of light will come in, and sometimes they are dazzling. A son massages his beloved father’s feet. A mother whispers a line from a smuggled letter. A boy makes a new friend in an English boarding school. A man embraces an uncle, feeling the bones of his 'prison body.' A family, big and fond, is reunited over nuts, pastries and sweet tea. Matar has a reserve that only makes his way with intimacy all the more moving. Critics like to call books unflinching but the point about this one is that its author flinches all the time; it’s in his turning away that we feel his unfathomable sorrow, not in those moments when he describes, as he sometimes must, all the unspeakable ways in which the regime liked to torture its prisoners; the great pile of bloodied watches collected by the guards after the Abu Salim massacre.
RaveThe GuardianI never stopped wishing that this book had not needed to be written, that the experiences that gave birth to it had not happened. But Matar has turned it into something exquisite, too. Shafts of light will come in, and sometimes they are dazzling ... Matar has a reserve that only makes his way with intimacy all the more moving. Critics like to call books unflinching but the point about this one is that its author flinches all the time; it’s in his turning away that we feel his unfathomable sorrow ... his book is bounded by a magnificent gentleness, a softness and care the reader experiences as a blessing.
Evie Wyld & Joe Sumner
RaveThe Guardian[This] is a partnership made in heaven. In Everything Is Teeth, a crazily evocative graphic memoir about Wyld’s shark-infested childhood, words and pictures are in perfect harmony, the joins between them so seamless you could almost be watching an old black-and-white film ... What a fantastic book this is. Sumner’s drawings are adorable and acute; Wyld’s words are first wry and then wise. Embracing life and death and everything in between, in Wyld’s hands the shark is a powerful metaphor: it stands for those demons that, when faced down, mostly turn out to be far less terrifying than they appeared at first.
RaveThe GuardianFaludi is a mercilessly droll and careful writer. The emotional incontinence and narcissism that pass for insight and power in memoirs these days is not for her; being interested in facts, she is unlikely to play the dubious trump card of personal experience. All the same, I cried quite often as I read her book ... On the page, Stephanie is a huge character: Holocaust survivor, American dad, Magyar repatriate, overdressed shiksa. Her new identity is in a bizarre dance with the old ... Faludi’s book, reticent and elegant and extremely clever, will not be to everyone’s taste. But this doesn’t preclude it from being an out-and-out masterpiece of its kind.
MixedThe GuardianThose who think of Roiphe as one of the most dazzling writers around (I am one) will perhaps be surprised to find such a deficiency in her – and by the way she seems to acknowledge it. The Violet Hour is written in short paragraphs that float in white space. Sometimes, this lends them a lyrical, meditative, even prayerful quality. At others, the reader has the sense that for all her reading, their author remains uncertain, floundering, unable wholly to marshal her thoughts ... Roife’s passion for these writers – the clue is the word 'great' in her subtitle – means that she loses her distance...The Violet Hour often reads like a book about gods and their willing handmaidens ... Her writing is elegant, cool, unforgettable.
PositiveThe GuardianTender and heartfelt, exciting and bizarre, Patience is interested above all in the stories we tell ourselves about love. Loyalty can be toxic, for all that we prize it. Patience isn’t always a virtue; sometimes, it’s just a time bomb in disguise.
PositiveThe Guardian[T]he sections of First Bite that are devoted to the feeding of children are, for me, its least compelling...More enlightening and sparky by far are the chapters devoted to the effect of memory and gender on our tastes. Wilson is a brilliant researcher and in this, her fifth book, she has unearthed science that makes sense of our most intimate and tender worlds.
RaveThe GuardianIf I had to describe Adrian Tomine to someone who didn’t know his work, I would call him – I can’t possibly conjure any higher praise – the Alice Munro of comics. But not even this quite does it.