Posts Tagged crime fiction
As you might expect, quite a lot of these titles crop up in my lists of the century and the decade (watch this space), but I’ve read things that fall well outside of those time frames, and things that I very much enjoyed but which didn’t quite make the cut. I haven’t included absolutely everything I read. One or two things were just a bit rubbish, and I’m going to ignore them. What that means is that everything here I enjoyed and/or was glad I had read (not necessarily the same thing), with the occasional caveat, and there are things that I enjoyed a very great deal. I’m not attempting to do a full review for all titles, or I’ll be here till 2021, just a few notes and links here and there, particularly for those titles which I haven’t written about elsewhere or which aren’t going to feature in all of the other (less fun) Books of the Year guides that are beginning to appear. The books that were published in 2019 are in bold, and my favourites have a little star by them, just so’s you know.
Crime, Thrillers, that sort of thing
Ben Aaronovich – The Furthest Station (part of the Rivers of London series, which I love. Moon over Soho is on my Century list)
Megan Abbott – Give me your Hand (a new author to me this year but one who I will follow up.)
Eric Ambler – Journey into Fear (classic thriller from 1940)
Kate Atkinson – Big Sky (new Jackson Brodie!)*
Mark Billingham – Love Like Blood, As Good as Dead, The Bones Beneath, Die of Shame, The Killing Habit (the excellent Tom Thorne series)
Stephen Booth – Fall Down Dead (Cooper & Fry series, set in the Peak District – I’ve read quite a few of these, but not in chronological order, and I keep feeling there’s back story that I’m missing! Will have to fill in the gaps.)
Sam Bourne/aka Jonathan Freedland – To Kill the Truth (follow up to To Kill the President, which was a startlingly close to reality account of Trump’s presidency as well as a nail-biting thriller. This one’s preoccupation is clear from the title – the events described may not be entirely plausible but the basic premiss chills, nonetheless, and Bourne/Freedland knows how to keep his audience gripped.)
James Lee Burke – New Iberia Blues, Robicheaux* (Dave Robicheaux series. Robicheaux is on my Century list)
Jane Casey – Love Lies Bleeding, One in Custody (two Maeve Kerrigan novellas), Cruel Acts* (new Maeve Kerrigan! on my Century list), How to Fall (first in Casey’s YA Jess Tennant series)
Harlan Coben – Tell No One, The Woods
Eva Dolan – Tell no Tales (second in the Zigic & Ferrera series, set in a Hate Crimes Unit)
Louise Doughty – Dance with Me, Honey Dew, Crazy Paving
Tana French – In the Woods, The Likeness, Faithful Place, Broken Harbour* (the first four in the Dublin Murders series – Broken Harbour is on my Century list), The Wych Elm*
Frances Fyfield – Half-Light (I read several of her crime novels back in the ‘80s and ‘90s but nothing more recently. This one is from ’92 and published under her real name, Frances Hegarty, but has reminded me to read anything by her that I’d missed).
Robert Galbraith – Lethal White (the latest Cormoran Strike – The Cuckoo’s Calling is on my Century list)*
Isabelle Grey – Good Girls Don’t Die (another new writer to me this year, and another who I will follow up)
Elly Griffiths – Zig Zag Girl, The Blood Card, Smoke and Mirrors, The Vanishing Box* (the first four in the Brighton Mysteries series, which I love), The Stone Circle* (the latest Ruth Galloway – on my Century list), The Stranger Diaries (first in an intriguing new series)
Jane Harper – Force of Nature, The Lost Man* (the latter is on my Century list)
Sarah Hilary – Never be Broken* (new Marnie Rome! on my Century list)
Susan Hill – Hero, The Comforts of Home* (a novella and the latest in the Simon Serrailler series, on my Decade list)
Doug Johnstone – The Jump, Gone Again
Philip Kerr – The Lady from Zagreb, The One from the Other, Prussian Blue*, Greeks Bearing Gifts (Bernie Gunther series. Sadly Kerr died last year, and so whilst there are a couple of Bernie Gunther novels that I haven’t yet read, that will be that. I’ll miss him. Prague Fatale is on my Decade list.)
John le Carré – Our Game, Absolute Friends (The Constant Gardener is on my Century list, and his memoir Pigeon Tunnel on the Decade list)
Laura Lipmann – Sunburn (on my Century list)*
Attica Locke – Black Water Rising (on my Century list)*
Mary McCluskey – Intrusion
Val McDermid – A Darker Domain (Karen Pirie series – I have read a couple of these now and much prefer them to the Wire in the Blood series, which I just can’t get along with. That puzzled me, given my love for the genre and McDermid’s place in the crime-writing pantheon, so I’m glad to have found these and will follow the series up )
Thomas Mullen – The Lightning Men (sequel to Darktown, which is on my Century list)*
Louise Penny – Still Life (first in the Inspector Garnache series – another series to follow up)*
Ian Rankin – In a House of Lies* (on my Decade list), Rather be the Devil, Hide and Seek, Naming the Dead* (on my Century list) (all Rebus novels)
Cath Staincliffe – Desperate Measures (a Blue Murder novel. Staincliffe’s stand-alone novels The Silence between Breaths and The Girl in the Green Dress are on my Century and Decade lists respectively, and I have thoroughly enjoyed her Sal Kilkenny series too)
Lesley Thomson – Ghost Girl (follow up to The Detective’s Daughter)*
Sarah Vaughan – Anatomy of a Scandal (political/psychological thriller, disturbing and compelling)
Sci-fi/Horror/Dystopian Futures etc
Margaret Atwood – The Testaments (sequel to The Handmaid’s Tale, on my Decade list)*
Ted Chiang – Stories of Your Life and Others (includes the short story that inspired the film Arrival, on my Century list)*
Andrew Michael Hurley – Devil’s Day* (his second novel – his debut The Loney was on my Century list)
Stephen King – Elevation, Gwendy’s Button Box, The Institute* (two fairly slight novellas and a stonking new one, which is on my Decade list)
Audrey Nifenegger – Her Fearful Symmetry*(there’s a sequel to her more famous Time Traveller’s Wife in the works, I believe, but this one is also excellent, spooky and moving)
Claire North – 84k* (a gripping and disturbing dystopia, in a society where everything is commodified and human rights have been abolished)
Iain Pears – Arcadia
Philip Pullman – La Belle Sauvage (on my Decade list), The Secret Commonwealth (the first two in his new trilogy)*
Marjorie Bowen – Dickon (a 1929 novel about Richard III, from a hugely prolific but largely forgotten author. The Viper of Milan thrilled me to bits as a young teenager)
Sarah Dunant – Sacred Hearts (third in her Renaissance trilogy. It’s set in a convent, and by chance I read it immediately after The Testaments, which set off all sorts of interesting echoes)*
Robert Harris – Imperium, Lustrum, Dictator (the Cicero trilogy, read in preparation for and during a visit to Rome)
Sarah Moss – Bodies of Light (on my Century list)*, Signs for Lost Children, Night Waking*
Elizabeth Strout – Abide with Me
Amor Towles – A Gentleman in Moscow
Sarah Waters – The Paying Guests
Kate Atkinson – Transcription* (WWII/Cold War set novel, about secrets, lies, paranoia, invention. The Guardian described it as ‘an unapologetic novel of ideas, which is also wise, funny and paced like a spy thriller’.)
André Aciman – Call me by Your Name
Peter Ackroyd – The Great Fire of London
James Baldwin – Giovanni’s Room* (Baldwin’s 1956 novel is a groundbreaking account of bisexuality, with a non-linear timeline. It’s a powerful read – I read quite a lot of Baldwin as a teenager, including the later Another Country, where the themes of race and sexuality are intertwined, as well as his novels exploring the black experience in the US)
Arnold Bennett – Clayhanger (published 1910, first in a trilogy – or possibly a quartet – set in Bennett’s ‘five towns’ in the Potteries, with a very striking female character in Hilda Lessways)
Jonathan Coe – Middle England* (on my Decade list, the follow up to The Rotter’s Club and The Closed Circle)
J M Coetzee – Disgrace (this has been on my bookshelf for many years and for some reason I only got round to it this year. It was excellent, but I don’t know that I want to read more by him, however good and important he is)
Michel Faber – The 199 Steps (read following a short break in Whitby)
Sebastian Faulks – Paris Echo (this should have been right up my street, and I did enjoy a great deal about it. Some critics felt that the history – Occupied Paris – was rather didactically presented rather than being integrated in the narrative. But the stumbling block for me was rather that some of that history was wrong. Careless mistakes that Faulks or someone should have spotted. Does it matter? I think it really does – if you’re going to invoke this (still contentious and disputed) history, get the details right.
Karen Joy Fowler – We are all Completely Beside Ourselves (on my Decade list)*
Barbara Kingsolver – Flight Behaviour
Chris Mullins – The Friends of Harry Perkins (a late sequel to A Very British Coup)
Michael Ondaatje – The English Patient (another one that I hadn’t got round to for years, and that somehow didn’t connect with me. Whether that’s down to me or Ondaatje, I cannot tell…)
Georges Perec – W: Une Memoir d’enfance
Sally Rooney – Normal People (on my Century list)*
Liz Rosenberg – Indigo Hill (on my Century list)*
Donal Ryan – From a Low and Quiet Sea (on my Century list)*
Biography and Autobiography
Sue Black – All that Remains: A Life in Death (musings on life and career from a leading forensic anthropologist)
George L Mosse – Confronting History (engaging autobiography of one of the leading historians of the Nazi era and ideology, himself a refugee from Nazi Germany)
Keith Richard – Life (on my Century list)*
Bart Van Es – The Cut Out Girl: A story of War and Family, Lost and Found(the story of one of the ‘hidden children’ in occupied Netherlands, and of the author’s family, who sheltered her)
Tara Westover – Educated (grim and fascinating autobiographical account of growing up in the Church of the Latter-Day Saints)
Ferdinand Addis – Rome: Eternal City (on my Decade list)*
Anne Applebaum – Iron Curtain (on my Decade list)*
Saul Friedlander – Nazi Germany and the Jews: The Years of Persecution, 1933-1939 (first of a two-part history by Friedlander, a refugee from Prague who survived the war as a ‘hidden child’ in France)
Anton Gill – An Honourable Defeat: A History of German Resistance to Hitler
Thomas Harding – The House by the Lake (on my Century list)*
Claudio Magris – Danube: A Sentimental Journey from the Source to the Black Sea* (inspired by my cruise up part of the Danube. Magris does the whole river, as the title suggests, and his journey predated the lifting of the Iron Curtain, so it was fascinating to contrast his impressions with my own)
Renée Poznanski – The Jews in France during World War II
Michael Rosen – The Disappearance of Emile Zola: Love, Literature and the Dreyfus Case (a fascinating, touching and often quite funny account of the great novelist holed up in various hotel rooms in England, suffering the dreadful food – he is baffled by gravy: why roast meat and then pour water on it? – and trying to juggle his complicated domestic arrangements. Obviously, Rosen also gives plenty of insight into the Dreyfus Affair which prompted Zola’s exile – and probably his murder).
David Andress – Cultural Dementia: How the West has Lost its History, and Risks Losing Everything Else (I only came across this because I follow Andress on Twitter and find his contributions there to be so well-informed and incisive that I wanted to read more of his thinking about the state of things. As the blurb suggests, it’s not exactly an optimistic view, but vitally important if we’re to understand how to fight back.)*
Billy Bragg – Roots, Radicals and Rockers: How Skiffle Changed the World*
Nicci Gerrard – What Dementia Teaches us about Love (on my Century list)*
Dave Rich – The Left’s Jewish Problem: Jeremy Corbyn, Israel and Anti-Semitism* (this made a lot of sense, for me, of the specific nature of left-wing anti-semitism. Unless we understand this, we are trapped in endlessly asserting people’s anti-racist credentials as if that should be sufficient response, or whataboutery focusing on the Islamophobia of the Tory party.)
Rebecca Skloot – The Immortal Life of Henrietta Lacks* (on my Century list)
Postscript – what I read after I posted this:
- Ben Aaronovich – Lies Sleeping
- Claire Askew – All the Hidden Truths
- James Baldwin – If Beale Street could Talk
- Chris Brookmyre – Places in the Darkness
- Viet Dinh – After Disasters
- Louise Doughty – Platform Seven
- Tana French – The Secret Place
- Elly Griffiths – Now You See Them
- Philip Kerr – Metropolis
- Jane Lythell – After the Storm
- Liz Rosenberg – Beauty and Attention
Allons-y to 2020, to new new books and new old books, e-books and tatty paperbacks, books that make me laugh, that make me cry, that make me think.
And to all the writers who’ve brought me so much enjoyment and enlightenment in 2019, my thanks, my love and admiration.
As always, a couple of caveats. When I say ‘the best’, I mean the stuff I really really liked. So I’m quite comfortable with you disagreeing – if you didn’t like something I did, then probably the reverse is true, and that’s totally fine. Secondly, whilst I’ve tried to avoid spoilers in what follows, read on at your own peril if you haven’t seen the programme/film concerned.
We’ve watched crime dramas from around the world – Cardinal (Canada), Crimson Rivers, No Second Chance and Les Dames (France), Darkness (Those who Kill) and Follow the Money (Denmark), Greyzone (Denmark/Sweden), The River (Norway), Night and Day (Spain), Trapped (Iceland), The Team (Denmark/Netherlands/Germany/France), Harrow (Australia), Perception and The Sinner (USA). These are a mixed bag – not all these series are ones we will follow up if we get a chance – and you may note a significant omission. Spiral is currently airing but at the time of writing we haven’t yet watched it – it’s accumulating on the BT box and we’re saving it up as a treat once it’s complete. Those are the rules, sorry. We’re also part way through Deutschland 86 which is excellent, and so extraordinary to contemplate how the world and the mindset of the GDR were due to disintegrate so completely only three years later.
Obviously, there’s plenty of home-grown crime too. Again, they’re a mixed bag – we weren’t entirely persuaded by Cheat, The Bay, Trust Me or The Widow, although they were entertaining enough. Baptiste, Innocent and Informer all had strong plots and strong casts, and emotional heft as well. The Le Carré adaptation, The Little Drummer Girl, was excellent too.
But in their own league were:
Endeavour – this keeps on getting better. The final episode was superb, and very moving. But for my money, the writing and acting in a brief scene between Bright (Anton Lesser) and Thursday (Roger Allam) was television at its finest. They were talking about the women they loved and feared (or knew) they were losing, how they had met them – and as each of them reminisced, it was as if they were each in their own world of memory, their words interweaving in a way that was somehow operatic (whilst being very understated, as befits the two characters).
Killing Eve season 2 was widely reckoned to be not up to the first. I can see some of that. But it was still quite deranged, deliciously wicked, and wickedly delicious. Whether a third season is a good idea, I don’t know, but will give it a go – I can’t think of any other series that has delivered the utterly unexpected quite so frequently. And Jodie Comer and Sandra Oh totally deserve all of the praise they’ve received for their performances.
Line of Duty was as nail-bitingly tense as ever. The elements are familiar now but the twists and turns of the plot are still gripping, and the performances excellent. I think before the next season, whenever that lands, we will have to re-watch the whole thing from the beginning, because it’s clearly all interconnected and I’m sure all the clues as to who is H (if indeed there is an H) are there somewhere… (and no, of course it isn’t Ted. Don’t be silly).
After all that murder, we do need the occasional laugh. I’m super-critical of comedy. I’ll give a new programme a try, but if it makes me wince more than it makes me laugh it doesn’t get a second chance. These passed the test.
This year saw the last Big Bang Theory – there was a point when I thought it had exhausted the comedic possibilities of the sitch and the central (male) characters, but bringing the women into the foreground gave it a new lease of life, and the final season was funny and often touching. Young Sheldon turned out to be excellent, the Cooper family drawn and performed with real affection and warmth.
We got to Fleabag rather late in the day but it was brilliant and funny. I was starting to find the glances to camera slightly irritating, when she changed the rules again in Season 2, with the hot priest noticing and asking her about it. Weirdly, Gentleman Jack also used the same trick (no idea who was copying who).
Derry Girls was fabulous, and silly, but never let one quite forget the context. The events around the signing of the Good Friday Agreement and Bill Clinton’s visit to Derry may have been mere background as far as the teenagers were concerned, but were heavy with meaning, at a time when the GFA seemed under threat from a no-deal Brexit. (It may still be – only a fool would attempt to make predictions at present.)
And The Good Place took us into unexpected realms of moral philosophy whilst being very funny along the way. (We’ve just finished season 2.)
Of these, I’m going to pick Derry Girls as my fave. I love those girls (and boy). And Sister Michael, obvs.
Having welcomed the Thirteenth Doctor in 2018, we had just the one episode of Who to sustain us through 2019, a New Year’s Day special. But the trailer’s out now for the new series, ‘coming soon in 2020’ so will just have to be patient till then…
Agents of Shield continued to be complex and compelling drama. The latest season ended with another unexpected swerve. My only quibble – and it applies to the next programme too – is the tendency to appear to kill off a key and beloved character and then renege on death. It’s something that happens a lot in fantasy/sci fi, given that there are myriad ways in which death can be cheated or reversed, but just because you can, doesn’t mean you should… Cumulatively, it can mean that the next death doesn’t move you because you kind of know they’ll be back.
Star Trek Discovery is still excellent, even without Jason Isaacs. And the arrival of Captain Pike was most intriguing, given the tie in to original Trek as well as to the reboot movies. There are some great characters (I’m especially fond of Ensign Tilly). Too much death-reversing (see above). But thoroughly enjoyable, exciting, unexpected.
Walking Dead has come back from a real creative slump. The war with the Saviours just went on too long, and was over-reliant on our supposed fascination with Negan. But with a jump forward in time, we’ve now (in Series 10) got a really creepy and interesting new threat, which also weaponises the zombie hordes, who had come to seem almost irrelevant during the Saviour wars. The mid-season finale (or should that be semi-finale?) was a classic example of key character doing something utterly stupid that endangers nearly every other key character – but it did it well, and the other plot strands that were left as cliff-hangers were powerful too. I’m glad I didn’t give up on it.
Hard to pick one – but I’ll go with Shield.
Years and Years almost qualifies as sci-fi. This Russell T Davies near future dystopia deals extensively with tech and how it affects every detail of people’s lives. But its main focus is the rise of a cynical, populist politician, who through a mixture of public support and chicanery gains power and uses it to horrific effect. It being RTD, this is emotionally intense, often funny, always scary.
Gentleman Jack stars the wonderful Suranne Jones as the early nineteenth-century lesbian diarist Anne Lister. She’s a fascinating character, particularly when one sees her through a contemporary lens – her sexuality and determination to follow her own path in that regard, despite all of the obstacles that society places in her way on the one hand, her belief in the class system and the interests of the landowning aristocracy on the other. It’s a hugely entertaining account, which reminds us that it’s based on Anne’s encrypted diaries with her asides to camera (as noted above, very Fleabag, even to the extent of having Anne’s lover notice at one point and comment on it).
More conventional costume drama in Poldark which reached its final season, so no more lingering shots of Ross riding along the Cornish clifftops or Demelza gazing out to sea. There are more books in the Winston Graham series than have been televised, but I think they focus on the next generation, so who knows, there might be a Poldark 2 at some stage, but without Ross, Demelza, Dwight, Drake, evil George… Of course, it would still have the staggeringly beautiful north Cornish coast, and a fascinating and turbulent period in terms of national and social history to explore.
World on Fire takes two families, one working-class, one wealthy, in late 1930s Manchester, and through the various family members and an American journalist explores the build-up to and the first couple of years of the war. That it relies on coincidence to connect these individuals with so many key events of the period (the fall of Poland, Dunkirk, the sinking of the Graf Spee, the Nazi euthaniasia programme, the occupation of Paris…) is absolutely fine. It’s a dramatic device, but it works. However. I’m happy to suspend disbelief at the aforementioned coincidences, but I cannot for the life of me see how Grzegorz gets from Gdansk to Warsaw to the Soviet occupied area of Poland and then within a period of less than nine months, without false papers, crosses most of Nazi Europe to turn up at Dunkirk and blag a place on a boat. It feels like there’s a whole story there to be told, if we’re to accept it at all, but instead we just jump from Soviet Poland to the beaches at Dunkirk. I would be less hard on this if I didn’t like the series so much in every other respect, but I shouted at the telly a couple of times over this strand of the narrative and no further explanation was forthcoming. Hmmm.
Stephen Poliakoff’s Summer of Rockets explores Cold War Britain, through the family of a Russian Jewish inventor recruited by MI5. It’s a fascinating portrayal of the world into which I was born (it’s set in 1958) but which I don’t recognise at all. Keeley Hawes is as splendid as ever, amongst a strong cast. Beautifully written and filmed, it’s thoroughly intriguing and quirky.
Best of these – another hard choice but I’ll go with Years and Years.
This year the children of 7 Up turned 63. We’ve been following them for decades now – they’re our contemporaries, and have been part of our lives for so long that we feel they’re almost like distant relations, who we only see every few years, but still kind of care about. I wonder how many of them will continue with the series (some of them said that their continued participation depends on Michael Apted, who’s now 71). Not only that, but whilst we have so far weathered divorces, the loss of parents, serious illness, and the death of one of the cohort, it can only get tougher from here on in. But for as long as they continue, we will continue to check in with them. Whatever the flaws in the original conception it’s been the most extraordinarily fascinating series.
One more doc, The Yorkshire Ripper Files. The last thing I watched about the Ripper, the drama-doc, This is Personal, gave me horrific nightmares. It ostensibly focused on the investigation but dramatized at least one attempted murder, and it took me right back to the fear that we lived with in Yorkshire whilst he was out there, killing women. I used to come back from work, always hoping that Karen from next door would be on my bus, and that we would scurry back from the bus stop to our road, feeling marginally safer for being together, but not feeling fully safe until we were home and the door shut and chained. And every night, those nightmares. The Yorkshire Ripper Files focused on how the investigation was derailed not just by the hoax tape but by the conventional attitudes of the time, fixating on the fact that some early victims were sex workers, and thus discounting attacks on women who were not, even when one of those women provided a chillingly accurate description of Sutcliffe. There was much I didn’t know, despite having followed the case so closely at the time, and it was a powerful reminder of how far, in many ways, we’ve come since the 70s, even if much still needs to change.
The Big Screen (even if seen on DVD on the small screen…)
It’s been a Marvellous year in the cinema. We had the arrival of the most powerful Avenger, and then the culmination of the Avengers saga with the mighty Endgame. I can’t be doing with the auteur-led dismissal of the superhero genre – my cinematic world is broad enough to encompass enigmatic French art films where nothing happens at considerable length AND epic battles between good and evil, packed with action (also at considerable length) but also with wit and heart. I’m contemplating a lengthier defence of the genre for this blog at some stage but for now, Scorsese, et al, leave it out. As well as the two major films, there were hugely enjoyable outings for Ant Man and the Wasp, and for Spiderman (both in the form of Tom Holland and in the animated Into the Spiderverse).
Leave No Trace was a beautiful, subtle piece of film-making, full of warmth and compassion, and faith in people. So many situations where one feared the worst but where people turned out to be decent, to be doing their best, to be kind. It hurt my heart, but it soothed it too. I know not everyone is ok, but perhaps sometimes we need to be reminded that most people are.
Bad Times at the El Royale was fairly bonkers, a lot of fun, with fantastic performances from Jeff Bridges and Cynthia Erivo in particular. The body count was pretty spectacular, but again, there were instances where people turned out to be better than one might have feared, rather than worse.
Erivo turned up again in Widows, one of a number of excellent films we saw this year with predominantly black casts. A heist movie wasn’t what I would have expected from Steve McQueen after Twelve Years a Slave, but as the Empire reviewer put it, ‘with the help of a staggering ensemble cast, Steve McQueen has made an intelligent, emotional thriller that contemplates contemporary American politics as confidently as it does blowing shit up.’
Spike Lee’s BlacKKKlansman got some stick for preaching to the choir, for making the contemporary parallels too obvious, and for making the KKK too stupid to be scary. I’m not sure that I agree. The final scene in which the lead players chuckle at their victory would be far too complacent and cheesy were it not for the news footage that follows, of Charlottesville and the contemporary equivalents of those bigots, still here, still spouting their hate. Lee’s film is often very funny and yes, a lot of the laughs come at the expense of the Klan. But there’s plenty here – even without the bookending of the 1950s racist PSA and the Charlottesville fascist demos – to shock and disturb. Denzel’s son, John David Washington, and Adam Driver, are great in the leads.
We only saw Jordan Peele’s Get Out this year, but had managed to avoid having much idea of what happened, beyond the initial premise of a young black guy visiting his white girlfriend’s family for the first time. It builds brilliantly – initially things are just that bit awkward, a bit clumsy, but we could be in for social comedy at this stage. We see Chris (brilliantly played by Daniel Kaluuya) initially smiling along – his whole life he’s been encountering the many and varied forms of white racism, and he knows there’s no point in calling it out, not at first. But then it gets weirder, and wronger, and every time you think you know where we’re heading, you’re wrongfooted…
Peele’s most recent film, Us, is ‘a superb doppelganger satire of the American dream’, which, like Get Out, builds its terrors gradually and relentlessly, and pulls surprise after surprise. Its mythology is more opaque than that of Get Out, but it resonates very powerfully nonetheless, and the chills and shocks stay with you. Lupita Nyong’o is absolutely mesmerising.
Sorry to Bother You is madly satirical sci-fi. It may sound mundane: a young black telemarketer who adopts a white accent to succeed at his job. Swept into a corporate conspiracy, he must choose between profit and joining his activist friends to organise labour. But whilst there’s an absolutely dizzying swerve part way through that no one could possibly have predicted, there are elements right from the start that mark it out as not social realism.
If Beale Street could Talk is an adaptation of James Baldwin’s novel, and it’s so very beautiful. It’s even quietly optimistic and hopeful about humanity, despite everything that happens to the protagonists, because it portrays real and lasting romantic love, and real and powerful family love. The Guardian said: ‘Here is a film almost woozy with its own beauty and dignity, a film going transcendently high in the face of a racist world going low. It is a tribute of quiet passion extended to those lives fractured by injustice, and seems to serenely offer up their hard-won heroism to ward off bigotry’s corrosive evil’.
There have been fewer opportunities to watch French art-house movies of late, but we did see Agnes Varda’s final film, which gives us the delight of spending two hours in her very engaging company, through interviews and clips from her movies. Varda by Agnes should take one immediately to seeing all of her films. We also caught Non-Fiction, which is about as archetypal a French film as one could find – populated by writers, publishers, actors and their ilk, all of whom are sleeping with each other, when they’re not having intense debates about the future of literature in a digital age. It’s clever and funny and very enjoyable.
The Farewell was great too – very touching and funny, about families and about cultural differences. As it opens we see Billi, the protagonist, in New York, juggling cultures adeptly as she talks on her phone to her grandmother in China and telling her what she wants to hear. But the grandmother is diagnosed with terminal cancer, and the family follow tradition in not telling the patient of her prognosis, all gathering in China for a slightly rushed wedding in order to say their farewells without actually saying farewell…
Booksmart was a ridiculously funny and smart coming-of-age film, starring Beanie Feldstein (the best friend in Lady Bird) and Kathryn Dever. They carry the film completely – parents and potential boy or girlfriends are in a way peripheral. The Guardian review said: ‘there are sequences that will feel familiar to anyone well-versed in high school comedies, but Wilde manages to grace her film with a distinctive aura all of its own. For one, romance and sex are relatively low down on the list for the girls while friendship, feminism and the pursuit of fun are of more importance, turning them from archetypes into fully fleshed, and flawed, young women.’
If I have to pick from these, my top three films would be Avengers: Endgame, If Beale Street could Talk, and Us.
Allons-y to 2020!
OK, I take anyone else doing this kind of list (looking at you, Guardian) as a personal challenge. So I have felt compelled to put together my own selection. Now, I’m not seriously claiming these are ‘the best books of the century’, that would be silly, given the randomness of what I’ve read and not read. The Guardian can draw upon the views of a range of reviewers; I can only draw upon my own. Over the course of this century I’ve been working, studying, running a charity, reviewing operas, bringing up a family, listening to music, as well as reading.
Nonetheless, I do read a LOT. Always have done. And these are the books from the last almost 20 years that have had a real impact on me, that have stayed with me after I’ve read them, that have offered the most enjoyment, enlightenment, hope – whatever their genre.
When we get to the end of this century (if we do…) the list will look very different. And of course you will disagree with me, and be horrified by both omissions and inclusions, and that’s fine!
I went through the Guardian list and added some of their titles to my long list, but then deleted them again (I’ve annotated the titles below which do still overlap), because I realised that whilst they were good, I’d not given them a thought since reading them, I’d not gone out and bought all of the author’s other books, or prioritised a re-read. All of the titles below have led me somewhere, if you like.
I’ve only allowed myself one per author otherwise certain favourite authors would have squeezed lots of other excellent books out. I’ve listed them in alphabetical order of author’s surname, rather than ranking them because I can’t be doing with that, but I’ve picked out my top three, books I’ve already read several times and will undoubtedly read again, and that I’ve insisted everyone I know reads.
Here we go…
Cath’s top books of the 21st century so far (with all the above caveats and disclaimers):
Ben Aaronovitch’s Moon Over Soho is my favourite so far of the brilliant and bonkers Rivers of London series. They’re a mad mash-up of fantasy and crime and are a delight. This one has a jazz theme which is probably why it has a particular place in my heart.
Viv Albertine – Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys. This memoir from a key member of The Slits is just so fascinating, so funny, and at times so desperately sad, that even if I hadn’t been a fan of the band I’d have loved every minute of it.
Naomi Alderman’s The Power is brilliant sci-fi, powerful and chilling. Its ‘book within a book’ structure adds a whole other level, and the writing is superb. The Guardian called it ‘an instant classic of speculative fiction’ and noted how devastatingly it inverts the status quo. Put very simply, what if men were afraid of us?
Cosmopolitanism: Ethics in a World of Strangers. Kwame Anthony Appiah is a Ghanaian-British philosopher, based at New York University, himself the epitome of cosmopolitanism. (His father was a leading dissident under the Nkrumah regime in Ghana, and his mother the daughter of Sir Stafford Cripps.) Appiah has written elsewhere about political and moral theory, and the philosophy of language and mind. This is a timely, accessible, and vitally important work.
Levels of Life. I haven’t loved the other things I’ve read by Julian Barnes, I’ve felt kind of detached from them. This one did get to me. The book’s three sections seem entirely separate but somehow they’re not, they’re connected in a marvellously subtle and moving way. And the third part will break the heart of anyone who has one to break. (Guardian top 100 title)
Robicheaux: You Know my Name is the 21st in James Lee Burke‘s series of novels featuring Cajun detective Dave Robicheaux. It’s so dark, haunted and haunting. The Louisiana landscape and culture is a vital part of the narrative, and the eponymous hero is flawed and fascinating, a good man wrestling with inner demons as well as the bad guys.
Carmen Callil’s Bad Faith: A Forgotten History of Family and Fatherland is a gripping bit of WWII French history, with a very personal source. Callil (one of the founders of Virago Books) uncovered the story of Louis Darquier de Pellepoix after the death (possibly by suicide) of her therapist, his daughter. Darquier was one of the most repellent figures in Vichy France, a vicious and entirely unrepentant anti-Semite, a fraud and a crook. It’s not just his story, it’s the story of how the Nazi occupation enabled and legitimised the vilest views and the vilest people and its importance goes way beyond the family history it describes.
Cruel Acts is the latest in Jane Casey‘s splendid series featuring detective Maeve Kerrigan. Maeve is an engaging protagonist, whose internal battles (about status and authority, complex personal and professional relationships), both enrich and complicate the police procedural plotting. These books get stronger and twistier and more compelling as the series continues.
Ted Chiang’s collection Stories of Your Life and Others includes the story that inspired the film Arrival, one of my top films of all time, an extraordinarily beautiful bit of sci-fi. These stories are marvellous in their own right – proper philosophical, speculative fiction, with a particular interest (as in Arrival) in language. They’re diverse in style and approach, and whilst ‘Story of Your Life’ stands out, several others challenge it, for the strength of the concept, the beauty of the writing, and the emotional impact. (Guardian top 100 title)
Jonathan Coe’s The Rotters Club appealed to me straight away. A ’70s adolescence, and the musical references (Hatfield & the North’s album, which gave the novel its title, plus the protagonists’ prog rock aspirations) gave it immense charm for anyone who shared those reference points. Apparently, it contains a sentence of 13,955 words, which I don’t remember even noticing when I read it, though thinking back I can guess when it occurs. It’s not just funny and charming, it skewers the politics of the time, and confronts real, brutal tragedy.
I’ve been reading Stevie Davies since the ’80s, and Awakening is one of my favourites. It’s set in Wiltshire in 1860, just after the publication of The Origin of Species, and it’s about science, radicalism and the stirrings of feminist rebellion. It’s very moving, but also acerbically funny in its portrayal of the excesses of evangelical zeal – but the focus of the novel is on ‘sisterly love, jealousy and betrayal’.
Edmund de Waal’s The Hare with Amber Eyes is family memoir and art history intertwined. I was lucky enough to hear de Waal talking about this story when he came to Sheffield University to present a gift of a piece of art called ‘fetched home’, the title taken from a poem by Romanian Jewish poet Paul Celan on the subject of homelessness and displacement. (Guardian top 100 title)
When I read Emma Donoghue’s Room I could not have imagined it as a film. Of course, it was filmed, and brilliantly, with Brie Larson and Jacob Tremblay, and it’s hard now to disentangle the book from that film. But I do remember the experience of reading it, of how it did my head in, gradually understanding the world that’s being described, and its terrifying implications.
Fires in the Dark is not what one might expect from Louise Doughty, if one came to it from Apple Tree Yard. This one takes us into the dark heart of the Romani genocide, also known as the Porajmos (the Devouring). Doughty draws the reader into the rich and complex culture of the Coppersmith Roma in 1920s Bohemia, into the lives of one family and the kumpania to which they belong, and then shows how this world was targeted for destruction.
Helen Dunmore’s The Siege. I could have picked several other Dunmores. I nearly picked her last published novel, Birdcage Walk, but I honestly can’t untangle my response to that from my sense of loss at her death. The Siege stands outside of that, on its own. Its setting is the siege of Leningrad, and it makes that experience viscerally real and moving. (Guardian top 100 title)
Interpreters was Sue Eckstein‘s second novel, and sadly her last – she died of cancer in 2013. It takes us across several generations of a family divided by the past, by what’s hidden and what’s remembered. It’s about memory and loss, and the continued resonance of the last world war. This is subtly done, and has all the more impact for that.
Reni Eddo Lodge’s Why I’m no longer Talking to White People about Race is not a comfortable read for one of the aforesaid white people. Fair enough, I don’t expect to be comforted. What I want, and what Eddo-Lodge offers, is insight that I can translate into awareness that can inform what I say and do. Essential reading.
Half Blood Blues, Esi Edugyan’s debut novel, could have been designed to interest me. Jazz, and Nazi occupied France… It’s an extraordinary story, and problematic in some ways, as the Guardian review points out (it’s a very spoilery review, so avoid if you haven’t read the book and want to encounter it unspoiled!). But superbly written, and fascinating.
In The Bitter Taste of Victory Lara Feigel takes us into the ruined cities of Germany after the end of WW2, seen through the eyes of the journalists and writers (Hemingway, Gellhorn, Orwell, West and others) who went out there to try to figure out how to address the challenges of peace, and the complexities of guilt and culpability at all levels. A lot of the accounts Feigel presents were new to me, and truly compelling (and relevant to my research).
Will Ferguson’s 419 is a thriller, about the kind of scam where a Nigerian prince or such like emails you to say you can have millions if you just let them have your bank details, or send them a bit of cash up front to arrange the deal. It starts with a suicide, an elderly man in Canada. Then the action moves to Lagos and to the Nigerian Delta, and it’s all so much more complex than we might have imagined, as the scam finds its context in the messy politics of Nigeria. Riveting.
I imagine everyone by now has read Gillian Flynn’s Gone Girl, and/or seen the film. Quite right too. When you first read it, that twist takes you by surprise, but when you re-read you’re looking to see just how the writer sets that up so cleverly (rather like when you re-watch The Sixth Sense). It’s an excellent thriller, and it’s not Flynn’s fault if every publisher has jumped on the bandwagon and published endless sub-Gone Girls! (Guardian top 100 title)
In The Devil that Danced on the Water: A Daughter’s Quest, Aminatta Forna takes us to Sierra Leone, where she spent part of her childhood, and where her father was imprisoned and executed for treason. It’s both memoir and investigation, a search for truth, and it was a quest that changed her irrevocably.
Broken Harbour is the fourth in Tana French’s Dublin Murder Squad series, and is really remarkable. It’s an unusual series, in that the main protagonist shifts with each book, so that a secondary character in book 1 becomes central in book 2, and so on. This one is extraordinarily unsettling and quite impossible to put down.
The Cuckoo’s Calling by Robert Galbraith. OK, we all now know that this is J K Rowling. Reading the Harry Potters, one sees her growing as a writer, in confidence and skill, as the series progresses, and her post-Potter work has been excellent. The Casual Vacancy was terrific social satire (or if you’re the Daily Mail, ‘more than 500 pages of relentless socialist manifesto masquerading as literature’…), and the Cormoran Strike series (this was the first) is complex, often dark, often funny, detective fiction, with the thoroughly engaging duo of Strike and Robin. (The Guardian picked Rowling’s Harry Potter and the Goblet of Fire)
Notes from an Exhibition was the first of Patrick Gale’s that I read, and still a favourite. It uses the device of, literally, notes from an exhibition, a posthumous exhibition of work from throughout an artist’s life, which allows Gale to tell her story in a non-linear fashion through different voices from different parts of that life. What marks Gale’s work out, apart from the beauty and the skill of the writing, is his warmth and compassion for all of his characters, however flawed.
Boneland is Alan Garner’s very belated return to the world of The Weirdstone of Brisingamen and The Moon of Gomrath, published in the ‘60s, which I read as a child and which have stayed with me ever since. Stylistically, Boneland is closer to Garner’s later work, particularly to Red Shift. It’s dreamlike, fragmented, pared back, haunted and haunting.
Nicci Gerrard’s What Dementia Teaches us about Love is a memoir, a personal account of supporting a parent with dementia. But it’s more than that – it’s a manifesto for the campaign that Gerrard launched, together with Julia Jones, to improve support in hospitals for dementia sufferers and, crucially, to allow their carers to be part of that support, not just ‘visitors’ who can be shooed out as if they’re in the way. This is a tremendously moving book – so close to home that it was almost unbearable at times. But it’s inspiring too, and hugely important.
Sweet After Death is the latest in Valentina Giambanco’s series featuring Seattle Detective Alice Madison. She’s an excellent protagonist, steely and complicated. And there are passages of vivid and economical writing that made me think of Chandler (without being pastichy). It is one hell of a read, and the series gets stronger with each book.
Andrea Gillies’ Keeper is another dementia memoir, and an exploration of the nature of the disease. It’s often grimly funny as well as sad, but ultimately the latter predominates. Gillies scrupulously records her own naivety, in thinking that they could cope, that love would be enough. And – horrifyingly, given what she does record of her mother in law’s behaviour in the grip of the disease, she says that she held a lot back… There’s no comfort here, if one is caring for someone with dementia, although our experience was much milder, if equally sad, but there’s insight and understanding.
Lesley Glaister has never been afraid of going to dark places – often there is a strong element of the gothic, often there is murder and always there are terrible secrets. The Squeeze is no exception. It begins with two lives which would seem to have no possible connection – a teenager in Romania, dreams of University abandoned, struggling to provide for her family, and a married, Norwegian businessman. But connect they do.
Killers of the Flower Moon, by David Grann, is the history of a crime. What happens when some in the Osage Native American community in Oklahoma in the 1920s turn out to have lucrative oil on their land? Do they get to enjoy financial security? Are you kidding? This is a horrifying coda to the history of genocide against the Native American nations during the previous century, compellingly written and richly fascinating.
The Stone Circle is the latest in Elly Griffiths’ Ruth Galloway series, featuring not a detective but an archaeologist, who’s drawn into criminal investigations whenever old bones are unearthed. Ruth is a brilliant character; she’s clever and funny, she’s not young or gorgeous or slim, but isn’t tortured about any of those things. The other characters are equally well drawn. There’s more than a touch of the Gothic, and the Norfolk landscape is much more than a setting, it’s a pervasive atmosphere. This series is a delight.
Thomas Harding’s The House by the Lake tells one hundred years of German history through one house, through its history during decades of staggering and traumatic change, different regimes and bureaucracies, and through the stories of the families who lived there. Harding’s family owned it once, but lost it when the Nazis took power. The Guardian reviewer said that ‘It is Harding’s great achievement that he has painted a large canvas of history, but done so with glinting individual stories. He has persevered in listening to those “quiet voices”.’
Jane Harper’s The Lost Man is another crime novel where the landscape – in this case, the Australian outback, where the scorching heat itself is a ruthless killer – is a powerful part of the narrative, almost a protagonist. Harper’s debut, The Dry, won all sorts of awards, and this is actually even better.
In An Officer and a Spy Robert Harris takes us back to the Dreyfus affair, the ripples from which spread out over many decades of French and European history – and still do. The focus is less on Dreyfus himself than on the young officer, Picquart, who despite being as anti-semitic as the next chap, had a sense of fairness and justice that was outraged by the framing of Dreyfus and by the refusal to right the wrong, even after the forger had confessed. Harris is always a great read, and this is a period of history and a subject that fascinate me (reading Proust made me realise how ‘The Affair’ was the Brexit of its day – dividing friends and families, into Dreyfusard and anti-Dreyfusard, no middle ground).
Cold in Hand is the penultimate novel in John Harvey‘s wonderful series about Charlie Resnick, who fights crime on the mean streets of Nottingham. We had to wait a further five years for the coda to the series (Darkness, Darkness), but it was worth it. These aren’t stories of baroque serial murders, but of chaotic crimes committed by people with chaotic lives, and Charlie himself is a tremendous creation.
Emma Healey’s Elizabeth is Missing is a rarity – a novel whose protagonist has dementia. Maud is coping with her dementia in ways that were very familiar to me – writing herself notes that she then loses, rediscovers later and can’t remember writing, going to the shops and buying tinned peaches because she’s forgotten what she actually went in for. But mainly she’s preoccupied with the disappearance of her friend, Elizabeth. Through the course of the novel we uncover another disappearance, much longer ago and we also see Maud’s grip on memory and reality slipping more and more. This is reflected in her narrative voice – it’s quite a tour de force, touching and often very funny.
If this is a Woman is a tough read, as it should be. It’s historian Sarah Helm’s account of Ravensbrück concentration camp, all of whose inmates were women. Its history is less well known than that of many other camps, and Helm spares us none of the horrors inflicted upon the women, drawing upon the accounts of survivors, several of whom went on to testify at the Nuremberg trials. It’s vitally important, particularly as those survivor voices fall silent, to know what happened there. As the Guardian‘s reviewer said, ‘As you read this 768-page book, it never feels too long. You will the women of Ravensbrück to live’.
Never be Broken is the latest in Sarah Hilary’s Marnie Rome detective series. It’s probably the best, but I tend to think that of each new addition to the series. As Val McDermid says, ‘it isn’t all about the murders’ – it’s about social divisions, about mental health, about guilt and grief. And murder.
The Various Haunts of Men is the first in Susan Hill’s series featuring detective Simon Serailler. I read Hill’s earlier novels many years ago – Strange Meeting, In the Springtime of the Year and others – and having loved those, and loving crime fiction (that may have become evident already), I seized on these with enthusiasm and was not disappointed. Serailler is an interesting protagonist, and the supporting cast is well drawn. Hill explores issues of faith and morality, and her writing is always subtle and clever.
Mortality was published posthumously, after what Christopher Hitchens himself might have called ‘a long and brave struggle with mortality’ (he hated the rhetoric of ‘fighting cancer’). Mortality is a brief book – too brief, which has all sorts of layers of meaning in this context. It starts with a diagnosis of terminal cancer, and explores what follows from that in a clear-sighted, unsentimental and unsparing manner. The thread running through it is what he calls ‘an arduous awareness’ and it’s ultimately uplifting.
Andrew Michael Hurley’s The Loney is undefinably creepy from the start. We know things are off, but not quite how, let alone why. We’re not yet scared but definitely uneasy… It comes with a ringing endorsement from the master of unease, Stephen King. The word that comes to mind is bleak – the bleakness of the landscape, the bleakness of a faith that focuses inexorably on sin, punishment and damnation, and the bleakness of the loss of faith. There is evil, and its pull is as relentless as that of the deadly tides. Is it a horror novel? It shares some tropes with that genre but there is an entirely deliberate ambiguity in the narrative.
Kazuo Ishiguro’s Never Let me Go is about mortality and humanity. It’s dystopian sci-fi, thoughtful and horrifying. We take a while to realise what’s happening here, because the protagonists can’t tell us – they’ve been fed lies throughout their lives, and continue to be fed rumours and to clutch at seemingly hopeful straws. (Guardian top 100 title)
Cultural Amnesia, Clive James’ collection of brief pieces about various cultural figures (musicians, philosophers, novelists, politicians), made me feel incredibly un-well-read, but without making me feel stupid. Rather, I felt inspired to go away and read the stuff he’s talking about. It’s truly wide-ranging – people he loathes as well as people he admires, acerbically funny, which is not always easy to pull off whilst being erudite, and it’s a book that I will go back to again and again for enlightenment, for brilliantly pithy comments, and for the impetus to read stuff that I haven’t yet braved.
In Postwar, the late Tony Judt examined the history of Europe from the end of WW2 to 2005. Acclaimed as one of the best works on modern European history, its breadth is hugely impressive, and as reviewers at the time acknowledged, it’s an achievement that’s unlikely to be surpassed. (Guardian top 100 title)
11/22/63 is one of my favourite 21st century Stephen Kings. I started reading him back in the ‘80s, having been put off for a while by the schlocky covers his books had back then, and by a degree of snobbery on my part. I’ve read them all, I think, and despite having announced his retirement from writing years ago after a serious accident, he’s still producing the goods. (His latest, The Institute, is a cracker.) 11/22/63 explores the idea of going back in time to change a past event. Now what could possibly go wrong with that? (The Guardian picked his brilliant On Writing, which is also well worth reading.)
Landscapes of the Metropolis of Death is, on one level, a Holocaust memoir. Otto Dov Kulka was deported as a child to Terezin, and from there to Auschwitz. It is also, ‘Reflections on Memory and Imagination’. It challenges Kulka’s own choice, ‘to sever the biographical from the historical past’, in his previous work as a historian. The book is ‘neither historical testimony nor autobiographical memoir, but the reflections […] of memory and imagination that have remained from the world of the wondering child of ten to eleven that I had once been’.
Stieg Larsson’s Girl with the Dragon Tattoo and its two sequels were all published posthumously, as the Millennium Trilogy. Other authors have since expanded the series. Aside from being gripping and complex thrillers, they’re notable for two intriguing protagonists – journalist Mikael Blomkvist, and hacker Lisbeth Salander. Larsson can’t be blamed for the proliferation of pale imitations since these were published (and filmed), and he could be said to have launched Scandi Noir, which on the whole is A Good Thing. (Guardian top 100 title)
John le Carré has been publishing beautifully written, complex thrillers for decades now. Though he might be thought to be an establishment figure, given his Security Service background, he’s still fuelled by a righteous anger, and nowhere more so than in The Constant Gardener. This deals with the murder of an activist in Kenya, and the uncovering of corruption on a huge scale by pharmaceutical companies and governments. Based on a real case, le Carré says that his plot is pretty tame compared to what actually happened. (Guardian top 100 title)
Harper Lee’s Go Set a Watchman is an interesting one to place, timewise. Published in 2015, it seems clear now that it was in fact a first draft of, rather than a sequel to, To Kill a Mockingbird. There were controversies about its publication, about whether Lee fully had capacity to approve its appearance. And the narrative itself was troubling, for those of us who’d grown up seeing Atticus Finch as a hero (whether in the pages of the book, or on screen as portrayed by Gregory Peck). In Go Set a Watchman, the reader who loved To Kill a Mockingbird shares the disillusionment and shock of Scout as her idealised version of her father is shaken and fractured. Like her, we move gradually to a deeper, more nuanced understanding. It’s about growing up, really.
Andrea Levy’s Small Island tells interweaving stories of Jamaican immigration to Britain, centred on 1948 but going back to the lives of the central characters (two Jamaican, two British) during the war years. ‘A thoughtful mosaic depicting the complex beginnings of Britain’s multicultural society’, according to the Guardian reviewer. (Guardian top 100 title)
I’ve read loads of Laura Lippman‘s books, all of her Tess Monaghan series (a young, female PI based in Baltimore) and most if not all of her standalone thrillers, most recently Sunburn. Lippman described this one as her first venture into ‘noir’ and ‘noir’ it certainly is. Her work typically features dark secrets but this one is steeped in them, and in obsession, desire, and violence. But she never forgets the humanity of her characters, as messed up as they may be, and the gradual revelation of who they are and how they got here keeps us gripped to the final page.
Black Water Rising is set in the 1980s, in Texas, and its protagonist is a struggling black lawyer who gets caught up in a conspiracy when he witnesses a crime. Attica Locke is a powerful writer, and the racial politics give it a fascinating context and added tension. There’s a sequel, Pleasantville, set 15 years later.
I didn’t expect Kenan Malik’s The Quest for a Moral Compass to be such a page-turner. I expected it to be enlightening and stimulating, sure, but it’s a huge achievement that it was genuinely difficult to put the book down. I wanted to find out ‘what happened next’, how through the centuries and the continents the human race grappled with the big questions of what it is to be good.
Wolf Hall was the Guardian’s top 21st century book. It doesn’t actually make my top three, but it’s a deserving choice nonetheless. Hilary Mantel is one of the most versatile writers around, and one never knows quite what to expect from her – at least until she began her Thomas Cromwell trilogy, since when all of her readers have been focused on the wait for the final volume. To read Wolf Hall is ‘to step into the stream of her irresistibly authoritative present tense and find oneself looking out from behind her hero’s eyes’ – a powerful and immersive experience. (Guardian top 100 title)
The Road is relentlessly grim but extraordinary. Cormac McCarthy forces the reader to inhabit this bleak world, and to accept how it works – ultimately to choose whether and when to trust. Whilst the notion of surviving in a post-apocalypse world is familiar in fiction and film, it’s unusual for the survivor group to have shrunk down to two, parent and child, which ramps up the tension and the terror. (Guardian top 100 title)
Ian McEwan’s Atonement is several novels in one. It’s a pre-war country house story about class and desire and adolescence. It’s a story of war and loss. And it’s the story of a story, about memory and guilt. There’s a revelation at the end which floored and shocked me but which on re-reading made perfect, desolate sense. (Guardian top 100 title)
Dervla McTiernan’s The Ruin opens with a scene that neither the reader, nor the young policeman who witnesses it, will forget in a hurry. And when we move forward in time the mystery of that scene, and its emotional fall-out, are still potent and compelling. The follow-up, The Scholar, features the same detective and I will be sure to read that as soon as I can.
Succession is the first in Livi Michael’s trilogy about the Wars of the Roses. Michael tells her story through a number of different voices, of major players and very minor players, mentioned but unnamed in the chronicles. And she threads the accounts in the actual chronicles through her fictional narrative, so we read of the events in the words of writers who lived at that time, and then she takes us into the thoughts and feelings of her protagonists so that they live and breathe for us. I would also highly recommend her earlier adult novels, and her children’s series about Frank the intrepid hamster…
China Mieville’s The City and the City combines the police procedural with ‘weird fiction’, with a murder investigation across two separate cities that happen to occupy the same space. It’s a brilliant and unsettling concept, and requires concentration from the reader to hold on to it as the plot develops. It’s worth the effort, the narrative works on both levels (which demonstrates Mieville’s focus and discipline). Is this an allegory, or as the Guardian‘s reviewer puts it, a ‘police mystery dealing with extraordinary circumstances’? Or both?
Scottish crime novelist Denise Mina’s The Long Drop is a venture into true crime, the story of notorious serial killer Peter Manuel. She meets the challenge of how to create tension when the outcome of the story is already known, focusing on bit part players, whose perspective is fresh and unfamiliar. The Scotsman’s review said that ‘Above all, it is a story about telling stories. Everyone is a narrator, everyone is literary critic, assessing and judging the veracity and the honesty of the stories that eddy through the book.’
Caitlin Moran’s How to be a Woman is, as anyone familiar with Moran’s writing will expect, proper funny, and proper rude (NSFW, seriously, and NSF public transport too). It’s proper inspirational too, made me want to stand on a chair and cheer, punch the air, as well as laugh (and, at times, made me cry because it’s not all jokey, there’s stuff that hits you where it hurts). The Independent said that How to be a Woman ‘is engaging, brave and consistently, cleverly, naughtily funny’. And Moran also makes the very important point that one can’t change the world whilst wearing uncomfortable undergarments.
I read one of Sarah Moss‘s novels (Cold Earth) a couple of years back and made a note to self to read more by her. Bodies of Light is a brilliant and compelling narrative, set in Victorian Manchester. It went to some dark places; at times I almost didn’t want to go on, I was afraid for the protagonists. There’s a sequel, Signs for Lost Children, and a related title, Nightwaking, which was published before Bodies of Light but can be read at any point in the ‘trilogy’. (BTW, Josephine Butler features in the narrative – if you want to know more about her, read Helen Mathers’ excellent biography.)
Thomas Mullen sets Darktown in 1948 Atlanta, and gives us a pair of fictional black cops – amongst the first of the city’s African-American police officers. These officers had many constraints to work within: they only patrolled African-American neighborhoods, could not arrest white people, and while they were given guns, it was understood that they could not fire them. This is a brilliant crime thriller with a context that makes every detail hum with tension. There’s a sequel, Lightning Men.
As one blurb for Audrey Nifenegger’s The Time Traveller’s Wife puts it, this is the story of Clare and Henry, who have known each other since Clare was six and Henry was thirty-six, and were married when Clare was twenty-three and Henry thirty-one. It’s a fresh take on the kind of time travel paradoxes that make one’s head hurt – this makes one’s heart hurt as well. A sequel is in the offing, and Nifenegger’s second book, Her Fearful Symmetry, is excellent too.
2006, when The Audacity of Hope was published, seems so very long ago. Barack Obama was still a Senator, and hadn’t yet announced his campaign to be the Democratic presidential candidate. It is in many ways his manifesto and thus, as the Guardian reviewer at the time said, cautious in a way that his personal memoir, Dreams from my Father, didn’t have to be. It would be impossible to re-read it now, without hindsight and without the constant horror of the inevitable comparison between this eloquent, thoughtful writer and his successor in the White House. I don’t think I can quite bear to do so. But at the time, apart from setting out Obama’s political priorities and convictions it represented hope – the mad hope that there might be a black PoTUS, someone with integrity and empathy, and what that could mean for the US and the world.
I wasn’t sure which of Maggie O’Farrell’s novels to pick. And I could easily be talked into Instructions for a Heatwave, or her debut, After You’d Gone. But I settled on The Hand that first Held Mine. Her writing is always perceptive and subtle and in this novel she skilfully weaves together two different timelines – the 1950s and the present day – in a haunting study of memory and motherhood.
In Black and British, David Olusoga tells us of a ‘forgotten history’. To some extent this is not so much forgotten as ignored. No one is suggesting that in previous centuries our society was quite as diverse as it is today, but so much more so than it is usually represented – and every time a writer tries to represent the reality, which as Bill Potts says in Doctor Who is ‘a bit more black than they show in the movies’, there are howls of protest and shouts of ‘PC gone mad’. The history is there, and clear, and it’s absolutely fascinating. Olusoga presents so much that is new to me, even though I thought I knew a bit about this stuff, and some of it runs counter to assumptions that I might have previously made. It also brought back some very early childhood memories, of visits to the forts on the Ghanaian coast, places where slaves were held before they were loaded into the ships to cross the Atlantic.
Nii Ayikwei Parkes’ Tail of the Blue Bird is a whodunnit, set in ‘the Ghanaian hinterland’, where old and new worlds clash. And it’s a delight. The storytelling is shared between Kayo, the young forensic pathologist armed with all of the science stuff, and Opanyin Poku, the old hunter who is armed with proverbs and stories. Parkes trusts his story and its tellers to communicate with readers even though they may know nothing of Ghana, its languages and its legends. He’s a poet and that shines through on every page. He makes you see the colours, taste the food and the palm wine.
Per Petterson’s Out Stealing Horses is set in eastern Norway,and focuses on the events of the summer of 1948. Beautifully constructed, beautifully written. As the Independent‘s review said, ‘unawareness and awareness, ignorance and knowledge, innocence and experience chase each other’, both for the protagonist, and for the reader.
The first two volumes in Philip Pullman‘s His Dark Materials trilogy fall outside the remit of this list, but the third just makes it. The Amber Spyglass (Guardian top 100 title). I re-read the original trilogy some weeks ago, in preparation for the new trilogy (the first volume of which, La Belle Sauvage, is wonderful and the second is due any day now), and they blew me away all over again. This is boldly imaginative fantasy, philosophical and literary, without the narrative ever losing impetus. As Pullman says, ‘the only thing that is interesting about fantasy is if you can use it to say something truthful and realistic about human nature’.
The Naming of the Dead is the 16th in Ian Rankin‘s Inspector Rebus series. Rebus is as stroppy and infuriating as ever (but we wouldn’t want him any other way). The setting is the 2005 G8 summit, and Rankin weaves the events surrounding the summit (protests, the award of the 2012 Olympics to London, and the 7 July London bombings) into this story of murder and corruption.
I never expected to fall for Keith Richards. I read his autobiography, Life, because it had had such positive reviews, and obviously because of my interest in the music. But what surprised me is what an engaging writer he is. A lot of it is very funny indeed, and he writes beautifully, perceptively and passionately about music. About the people, particularly Brian Jones and Jagger, he can be harsh (as he often is about himself), but he’s often also generous and gracious. His attitudes to women may be relatively unreconstructed but he clearly likes them, rather than just wanting to have them. Reading about his wilder years, it’s pretty amazing that he’s still here, but I’m glad he hung around at least long enough to write this vivid account of an era and a career that one really couldn’t make up.
Sally Rooney is just getting started as a novelist, but her first two books have both generated an enormous amount of attention and praise. Normal People is her second – I’ve only read this once though I will undoubtedly go back to it (and will read Conversations with Friends, her debut). The ‘normal people’ of the title are, of course, not quite normal. Connell can pass for normal in his home and school environment, but only by hiding a lot of what he feels and thinks, and away from home he struggles to work out who he is and how he fits in. Marianne is regarded by her peers at school as weird, but comes into her own away from a damaging home environment. Their relationship is compelling and troubling – certainly not a conventional love affair – and Rooney doesn’t let us have a tidy or comfortable resolution.
I came across Liz Rosenberg’s Indigo Hill by chance as a Kindle offer, and loved it. It doesn’t seem to have been widely reviewed, although she’s a fairly prolific writer, with children’s books and poetry as well as novels on her CV. Indigo Hill is about families, secrets and memories – and it’s beautifully written (one might have guessed that she was a poet).
In The Rest is Noise: Listening to the Twentieth Century, Alex Ross writes brilliantly and beautifully about the century when ‘classical’ music got difficult. He demythologises without ever dumbing down, and has a gift for the description or metaphor that makes something difficult suddenly clear, and for illuminating the context in which this music was composed. It isn’t, despite the title, about all twentieth-century music – jazz and rock and pop don’t get much of a look in except where they overlap with classical. But one book can’t do everything, and in shedding light on music that is often perceived to be impenetrable, he’s doing something wonderful, particularly for those of us who want to open our minds to it and yet still struggle sometimes.
The Plot against America is Philip Roth’s 2004 venture into alt-history or counter history, where he proposes that the 1940 US election returned Charles Lindbergh rather than Roosevelt to the White House. Roth shows how the Lindbergh presidency allows prejudices – primarily anti-semitism in this context – which had previously been whispered or shared only with those of like mind to be spoken clearly and loudly and without shame. We see the tragic consequences unfold through one Jewish family (modelled on Roth’s own). Contemporary parallels are all too easy to draw… (Guardian top 100 title)
Donal Ryan’s From a Low and Quiet Sea gives us three stories, three protagonists, and then brings them together in the final part of the novel in ways that one could not have anticipated. With each story the tone changes, and Ryan skilfully takes us from lyricism to black comedy and everywhere in between. (I also loved his earlier The Thing about December. There too is humour and tragedy, and a lonely young man trying to work out how to be a man, how to be a good person, how to connect with the world and the people in it.) ‘Filled with love and righteous anger’, as the Guardian reviewer of From a Low and Quiet Sea puts it.
Philippe Sands’ East West Street weaves his own family history into the development of the definitions of genocide and crimes against humanity which were so crucial to the judgments at Nuremberg and to our response to such crimes in the decades that followed. He makes the connection with his grandfather’s home in Lemberg (aka Lwów or L’viv) which was also where Lauterpacht and Lemberg, the two Jewish lawyers who were so instrumental in giving us the legal framework, grew up and were educated – and who are Sands’ own antecedents too, in his life as an international human rights lawyer.
Looking for Transwonderland is Noo Saro-Wiwa’s memoir of her return to Nigeria. She visits places that I saw as a child in the north of the country (Jos, Kano, Yankari Game Reserve) as well as parts of the country I never knew (Lagos, Port Harcourt, Abuja). Her father, Ken Saro-Wiwa is a powerful (and unsentimentally portrayed) presence throughout, both at the personal level and in terms of the politics that led to his murder. Nonetheless the book is full of humour, and ultimately of a deep affection for the country, with all its chaos, corruption and division.
I don’t know where to begin with W G Sebald’s Austerlitz (Guardian top 100 title). Sebald is at the heart of my PhD thesis, and so trying to say something succinct when I’m so immersed is hard. It also means that a lot of the reviews annoy me quite a bit. I would probably have selected The Emigrants to represent Sebald’s work, but Austerlitz is the only one of his four ‘novels’ that falls within the twenty-first century, and it was his last – he died in a car accident not long after its publication. It’s about time, place and memory, and about a life that intersects with and is shaped by the darkest period of European history. It’s the most problematic of his novels, but endlessly, obsessively compelling.
Les Parisiennes is Anne Sebba’s fascinating account of the lives of women during the Nazi occupation of Paris, featuring collaborators and resisters and everyone in between. Sebba draws on some sources that I was familiar with but many more that I wasn’t, and weaves them all into a rich tapestry which shows how life in Occupied Paris was both normal and entirely abnormal at the same time, depending on who and where you were.
I was drawn to Taiye Selasi’s Ghana Must Go at first just for the title. But then I was blown away by the opening chapter, and as the narrative pulled back from that minute detail, that moment by moment evocation of a man looking out at his garden, realising that he is about to die, the breadth of the locations and the expanding cast in no way diluted the power of the writing. I did not realise at first that I was reading it aloud in my head, the way I read a novel in French, rather than hoovering up a page in one go as I normally do. In this case it wasn’t in order to understand it, but in order to feel the rhythm of the text. This is a poem as much as it is a novel.
Owen Sheers’ Resistance is a cracking alternative history, where the Allies lost WWII, set in the Welsh valleys. It evokes something of Vercors’ Le Silence de la mer, or Irene Nemirovsky’s Suite Française in the portrayal of the interaction between occupying troops and the local population, but is also firmly rooted in the particular landscape and history of its setting.
Lynn Shepherd’s Tom All Alone’s is the second of her ‘literary’, postmodern crime novels. Her first, Murder at Mansfield Park, turned that classic upside down in a most entertaining way. I approached this one with caution because it riffs primarily on Bleak House, the best novel in the English language, and just as I am hypercritical of cover versions of songs I particularly love, so I am sceptical at least about anyone messing with my favourite novels. However, Shepherd recreates the atmosphere of Dickens’ London, even while she subverts his characters. It’s a gripping tale, darker – dare I say, bleaker – than anything Dickens could have published back in the day. There’s a slice of Wilkie Collins’ The Woman in White in here as well.
I’ve read most of Anita Shreve‘s novels, including her last (she died last year) The Stars are Fire. But it had been a while, and when I thought about her work, the one that I knew had to be my choice was The Last Time they Met. There’s a link between this and an earlier work, The Weight of Water, in the central character, Thomas Janes. The Last Time they Met uses a reverse chronologicy to unravel the story of a relationship, and past and present are interwoven skilfully as in so many of Shreve’s books. This one is particularly heartbreaking and I still remember the sense of shock at its ending.
Rebecca Skloot’s The Immortal Life of Henrietta Lacks (Guardian top 100) tells the story of Henrietta Lacks, a black American who died in agony of cancer in a ‘coloured’ hospital ward in 1951. This is about medical and scientific history – but also about race. Henrietta did not know her cells were being taken, nor did her family – and there’s a murky history of black hospital patients being treated as experimental subjects without informed consent. Billions have been made from these ‘HeLa’ cells, which showed extraordinary capacity to multiply and were used around the world to develop new drugs. But Skloot tells the story not just of ‘HeLa’ but of Henrietta’s life and death, and of her surviving children, and their struggles after her death.
I love Patti Smith as a musician, but I think even more as a writer. Just Kids, her memoir of life in ’70s New York, and her friendship with Robert Mapplethorpe, is warm, and funny, and touching, and a vivid portrait of the cultural life of the city. In her later memoir, M Train, she talks about life post-Mapplethorpe, life with her husband Fred ‘Sonic’ Smith (ex MC5), and of the losses that marked those years (not just Mapplethorpe, but brother Todd, and Fred). Again her warmth and humour permeates every page.
Ali Smith’s Hotel World is glorious. It’s clever (a Guardian reviewer said that ‘I have never seen the tenets of recent literary theory … so cleverly insinuated into a novel’), but it never felt to me that it was ‘look at me! look at me!’ cleverness, just virtuoso writing with heart and humour and humanity. The Guardian picked her novel Autumn, which I haven’t read, but will.
Rebecca Solnit in Hope in the Dark (Guardian top 100 title) finds hope in activism, and in the notion of the Angel of alternate history. This is based on the angel Clarence in Capra’s It’s a Wonderful Life, in which a man in despair sees what the world would look like if he hadn’t been born. We may never know what difference we made, or might have made. If the threats that we perceive at present come to nothing it will be easy for us and others to say, see, we were over-reacting. If not it will be easy for us and others to say that our words and actions failed to achieve what we hoped. We could just as well say in the first instance that we helped in our small ways, collectively and individually, to defuse that threat, and in the second that things could have been worse. Because we won’t have Clarence to show us the effect of our acts, all we can do is to do the best we can.
Andrew Solomon’s The Noonday Demon is an eloquent and rigorous account of depression. It comes from his own experience of this crippling illness and he tells his own story here, with painful honesty, but also explores the nature of depression, in terms of the science, the sociology, and how it is treated. ‘That Solomon has shaped a richly eloquent testament from his own seasons in hell kindles something like hope’.
I’ve read most, if not all, of Cath Staincliffe‘s work – her Sal Kilkenny PI series, the Scott & Bailey and Blue Murder novels, and her stand-alone titles, which, whilst they centre on a crime, are more concerned with the ripples from that crime as they spread out to victims and perpetrators and families. The Silence Between Breaths is a superlative example. I shall say nothing about the plot, but if you remember to breathe whilst reading it you will be doing better than I did. It’s gripping but also compassionate and moving. I’d highly recommend also The Girl in the Green Dress.
Another of the posse of brilliant young female crime writers whose books have given me so much enjoyment this century is Susie Steiner. Her detective is Manon Bradshaw, who made her debut in Missing, Presumed. What marks Steiner and her contemporaries out is the emphasis on character, rather than just on plot. Manon is a brilliant protagonist, but all of the secondary characters, whether colleagues or victims or their families, are subtly drawn too, with humour and empathy. There’s a sequel, Persons Unknown, and a new Manon title out next year.
The Hillsborough tragedy had a huge impact on me, even though I wasn’t there, and knew no one who died there. That afternoon and evening, watching the casualty count rise, trying to understand, are still so vivid in my memory. Since that day I’ve blogged regularly about it, as the fight for truth and justice for the victims and their families went on. Adrian Tempany’s And the Sun Shines Now is both a personal account of that day and what followed, and an exploration of the broader picture in contemporary football.
Rose Tremain is an author I’ve loved previously (I have read The Way I Found Her, Restoration and The Road Home, all of which are excellent). The Gustav Sonata is utterly compelling and beguiling, subtle and beautifully written. The Guardian reviewer called it ‘a perfect novel about life’s imperfection’, which is quite an accolade. The setting is Switzerland during the Second World War, which allows an exploration of the notion of neutrality. This quote, which comes towards the end and gives nothing away of the plot, goes to the heart of things: ‘We have to become the people we always should have been’.
Of all the Sarah Waters novels that I have read, Night Watch in particular stayed with me (The Guardian picked Fingersmith). It’s another tale told in reverse, but the Blitz is at the heart of everything that happens here. Gradually, as the story unfolds, we understand the characters, war and world weary, and the puzzling events that open the novel.
Colson Whitehead’s The Underground Railroad (Guardian top 100 title) begins as a historical novel, telling with extraordinary and brutal power of the live of slaves in the American deep south. We’ve been here before, or so we may think. And then Whitehead swerves into a different kind of fiction altogether, without leaving behind the real stories of slaves, masters and abolitionists, but allowing us to see it afresh, from a different angle.
Having read Oranges are the Only Fruit, I thought I knew a bit about Jeanette Winterson‘s upbringing. But whilst that is moving and even devastating, it doesn’t convey the full awfulness, the full damage of that childhood and adolescence. Why be Happy when you could be Normal? pulls no punches. But it also has passages of great joy, particularly as the young Jeanette gains access to books, libraries of books, that open up new worlds to her. The story of her later life is devastating too, but throughout there is humour and self-awareness and compassion. One of the finest memoirs I have read.
And my three top books of the century are:
Half of a Yellow Sun by Chimamanda Ngozi Adichie. I’ve read it several times and its impact never lessens. It’s personal, in a way, in that I lived in Nigeria at the time and during the events that she describes. The central characters begin in a period of peace and plenty, academics, privileged members of the wealthy Lagos business community, and ‘expats’. Gradually, as the country descends into pogroms and civil war, everything they have is gradually taken, their homes, their comforts, their food, their security. It’s an intensely powerful narrative – and it’s also about who gets to tell the story.
I love Kate Atkinson‘s work, her Jackson Brodie crime novels and, well, all of it really. But Life after Life is in a class of its own. Her writing is so perceptive, so piercing, often very funny, and often heartbreakingly sad. It’s a contender for my Desert Island book, in that I could conceive of reading it over and over again (alongside the Bible and Shakespeare).
Jon McGregor is an extraordinary author – If Nobody Speaks of Remarkable Things breaks my heart, no matter how often I read it. Reservoir 13 is not a detective novel, despite the familiar opening scenes – a missing girl, a community in shock, a search. The reader becomes part of the rhythm of time and the seasons which continue to pass whether or not we find her. The voices and lives of the community interweave – life and death, grief, betrayal, loss, love, warmth, joy. The cliché is that when something terrible happens, ‘life goes on’. That’s what Reservoir 13 is about.
So there we are. It’s a very personal list – it reflects not only my general preferences (history, crime), but my particular interests (French World War II history, West Africa, music). So literally no one else is likely to pick the same 100 titles. And nor will I, if I repeat this exercise twenty years from now…
If this list turns you on to an author you didn’t know, or a book you hadn’t tried, I’d love to know, and will be absolutely delighted. If I haven’t included an author or a book that you think should be there, do tell me (note that I respond better to recommendations than to reproofs for not having read your favourites!). If I include things you hate, or think unworthy, that’s fine, but no need to tell me, there’s plenty of room for your tastes and mine. Nothing on this list is here because I think it ought to be here, I’m not trying to prove anything, just to share some of the joy I’ve found in reading in the 21st century.
*Disclaimer – there are a lot more than ten books. I don’t automatically have a problem with compliance, but to attempt to distill 57 years of reading into just ten books would be just silly. Far harder, in a way, than the Ten Albums thing I did a while back.
Anyway, despite all of that, reading other people’s selections on Facebook did get me thinking about the books that have had the greatest impact on me, made me the person I am. So I’ve devised a plan. I’ve picked some of the books I read as a child or in my early teens, during those years of eager discovery, every book a new world to explore. I’ve grouped them not into genres (I have no truck with categorisation by genre) but in terms of ten themes and ideas that these books encapsulated and which set me on quests that I’m still pursuing today. Secondly, I’ve picked ten(ish) of the books that I’ve read as an adult that have inspired me and that have informed my politics. Neither of these lists represents The Best, but all the books here have been truly significant.
A Childhood with my Head in a Book
How to Be a Girl
The books I read as a child gave me some interesting and contradictory models for how to be a girl. It’s something I was never very good at – my Christmases and birthdays always brought cookery books, dolls and sewing kits, none of which inspired anything other than indifference in me. I only ever completed one bit of knitting – my treasured Forest scarf. You can tell which end I started at, from the loose, uneven stitches. I tired rapidly of the pious and/or relentlessly cheerful heroines that an earlier generation of writers so often presented to me, but found among that generation nonetheless the likes of Anne Shirley and Jo March who gave me the notion that being a girl might involve reading a lot, using your imagination, defying convention, being contrary, not being Good (at least not all the time).
I read Jane Eyre – another awkward girl – at a young age. (This was one of a number of classics which were technically too old for me, but which, because they began with the protagonist as a child, were accessible even if their full depth and complexity were only revealed through later re-reading – see also Great Expectations, David Copperfield.) Jane Eyre led me to read the rest of the Brontes (though only recently in the case of Anne, I’m ashamed to say), and the Dickens I read as a child led me to read all of his work, and to explore the world of the nineteenth-century novel, particularly George Eliot, who I read as a teenager but whose Middlemarch vies with Bleak House for the title of Greatest Novel in the English Language (spoiler – BH wins. Just).
And I Capture the Castle, in which we meet Cassandra Mortmain (sitting in the kitchen sink) at the age of 17 (‘looks younger, feels older’) – a marvellous mixture of naivety and wisdom. Far older than me when I read it first, so I grew up with her, catching up and then overtaking her.
L M Montgomery – Anne of Green Gables; Louisa May Alcott – Little Women; Charlotte Bronte – Jane Eyre; Dodie Smith – I Capture the Castle
Travellers in Time
I was always entranced by the notion of slipping from now to then, from present to past. And these three books all share something in common – that the slippage is related to a very specific and real place, a place in which the past is still very present. Dethick, in Derbyshire, is the real counterpart of Alison Uttley’s Thackers (A Traveller in Time); Philippa Pearce’s Victorian house (Tom’s Midnight Garden) is based on the Mill House in Great Shelford, near Cambridge, and Lucy Boston based Green Knowe (The Children of Green Knowe and its sequels) on her home, The Manor in Hemingford Grey, also near Cambridge. My very talented friend Clare Trowell now lives in Hemingford Grey, and this gorgeous linocut is her tribute to a book that is as magical for her as it is for me.
In each of these novels, the present-day protagonist encounters past inhabitants of that house, and there is both a sense of magic and a deep sadness that comes from the knowledge that those people are in today’s reality long gone. Although in Tom’s Midnight Garden, there is an encounter between the boy and the elderly woman who was/is the young Victorian girl who had become his friend, which brings about one of the most poignant endings in children’s literature (yes, up there with the final pages of The Railway Children about which I cannot even speak without choking up). I found Dethick in my early teens and will never forget the sense of magic, just out of my reach, when I stood in the Tudor kitchen of the old house, where Penelope had stood, where she had encountered the Babingtons. And I still get that same feeling when I see the ruins of Wingfield Manor on the skyline.
I’ve read many books since then that play with time travel (the most powerful is probably Audrey Niffenegger’s The Time Traveller’s Wife, whose ending made me sob like a baby), and it’s a staple of the sci-fi I watch on screens large and small, but the magic these books hold is different. It’s not about the intellectual tease of time paradoxes, or parallel dimensions. It’s about a place, and the people who inhabited that place, and whose joys and sorrows still inhabit it long after they’re gone.
Alison Uttley – A Traveller in Time; Philippa Pearce – Tom’s Midnight Garden; Lucy M Boston – The Children of Green Knowe
Thresholds to Other Worlds
And then there are the books in which the protagonists slip not just out of our time, but out of our world and into another, or into a version of our world where magic is real, if invisible. Harry Potter was obviously not a part of my childhood, so the first doorway into myth and magic that I encountered was a wardrobe door, and it led to a place of permanent winter, always winter but never Christmas. I know there are issues with the Narnia books – and when reading them aloud to my own children I did skip one or two sentences of egregious sexism or racism. But they are a part of me, read and re-read, fuelling my imagination and my curiosity, still shared reference points with family and friends.
Not long after discovering Narnia, I found in the pages of Alan Garner’s The Weirdstone of Brisingamen the gates to Fundindelve on Alderley Edge and stories that were not only magical but genuinely spinechilling. Like the time-slip stories mentioned previously, Garner’s stories are absolutely rooted in the landscape he knew, and steeped in the multilayered mythologies of the British Isles – Celtic and Norse and Saxon. Many of the places referred to in The Weirdstone and The Moon of Gomrath can be found not only on the frontispiece map provided (I do like a story that comes with a map) but on the OS map of the area.
One can go on a pilgrimage – as I did – and find these locations and feel that frisson of magic again.
Whereas Lewis’s protagonists are largely unencumbered by adults, as is so frequently the case in children’s literature, in Garner’s narratives the adults can be allies, however reluctantly roped into the struggle between good and evil that is being played out around them, or they can be obstacles or enemies. Those encounters with evil are all the more terrifying when they encroach upon the ordinary, everyday world – something that Stephen King knows very well. Garner’s approach is similar to that of Susan Cooper in her marvellous The Dark is Rising series, which is only not included here because I didn’t encounter those books until my late teens. I grew up with Garner’s books – in the literal sense that the transition from Weirdstone/Moon to Elidor and thus to The Owl Service and Red Shift was a gradual transition from childhood to young adulthood in terms of the themes and the sensibilities of the protagonists.
C S Lewis – Chronicles of Narnia; Alan Garner – The Weirdstone of Brisingamen
Whilst Narnia could be accessed from our world, via a wardrobe or a painting or a summons, Middle Earth exists outside our world altogether. I read The Hobbit and the Lord of the Rings trilogy as a child and was utterly terrified by the Dark Riders, and Shelob. Ursula le Guin’s Earthsea was another other world that I came to late in my teens – it led me to her adult science fiction novels which are beautiful and profound and which make the reader think and question. Lord of the Rings doesn’t really do those things but it catches you up in the archetypal quest narrative with the archetypal quest hero, not a warrior or a king but someone (literally) small and naive, someone whose resolve is strong but yet falters and who needs other people (friends and enemies) to achieve his goal.
J R R Tolkien – The Lord of the Rings
Some of the books I read took me into the past, unmediated by a present-day interloper. Rosemary Sutcliff illuminated the Roman period and its aftermath, and Henry Treece the Vikings. Rosemary Hawley Jarman’s romantic take on the Wars of the Roses and, particularly, the mission to clear the name of Richard III (see also Josephine Tey’s The Daughter of Time) captivated me. Leon Garfield’s protagonists weren’t real historical figures but inhabited a richly drawn eighteenth-century world. And Joan Aiken introduced me to the notion of alternative history, with her splendidly Gothic Wolves of Willoughby Chase set in the reign of James III. I loved Edith Sitwell’s studies of Elizabeth 1 in Fanfare for Elizabeth and The Queens and the Hive. I loved Margaret Irwin’s take on the same period in her Queen Elizabeth trilogy, as well as her accounts of Prince Rupert of the Rhine and Minette (sister to Charles II). All of these writers fed my fascination with history and led me to contemporary writers such as Hilary Mantel and Livi Michael.
Rosemary Sutcliff – The Lantern Bearers; Leon Garfield – Smith; Joan Aiken – The Wolves of Willoughby Chase; Henry Treece – Viking’s Dawn; Rosemary Hawley Jarman – We Speak no Treason; Edith Sitwell – Fanfare for Elizabeth; Margaret Irwin – Young Bess
Displaced and Endangered
Whilst it’s far from unusual that the protagonists of novels for children are parentless, either permanently (a heck of a lot of orphans) or temporarily, some of the novels I encountered as a child took that trope of children pluckily dealing with perils of various kinds, and gave it a much darker context, and a much more real peril.
The children in Ian Serraillier’s The Silver Sword escape occupied Warsaw and after the war is over have to try to find their families amidst the chaos and mass displacement, as well as the emerging tensions between the former Allies. It’s tough and powerful, whilst also being a cracking adventure. The protagonist of Ann Holm’s I am David escapes (with the collusion of a guard) from a prison camp in an unnamed country and crosses Europe to try to find his mother. The novel does not flinch from the ways in which David has been affected by his life in the camp and how difficult he finds it to trust given his early experiences. An Rutgers van der Loeff told the story of a group of children who found themselves on the Oregon trail alone, after their parents died on the journey (based to some extent on the true story of the Sager orphans). It was often a harsh read, and again did not shy away from the emotional effect of having to assume adulthood at 14 and take responsibility for the safety of younger siblings in a world full of natural and man-made threats. Meindert de Jong’s The House of Sixty Fathers is set during the Sino-Japanese war, and again tells of a child separated from his parents in the chaos of war, but in this case finding care and love from a unit of American soldiers (the titular Sixty Fathers).
All of these books pull their punches to some extent. They don’t present their child readers with the full, unmitigated horror of war or of genocide. And they are right, in my view, to hold back. What they do is to open that door, just enough, so that readers can choose to find out more, and are prepared (to some extent) for what they may discover.
Ian Serraillier – The Silver Sword; Ann Holm – I Am David; An Rutgers van der Loeff – Children on the Oregon Trail; Meindert de Jong – The House of Sixty Fathers
There’s another kind of magic, that doesn’t tap into myth and legend but imaginatively imbues ordinary life with something extraordinary. Here, the extraordinary is very small. So small that it can be hidden from prying eyes, it can live alongside us but without us knowing. Mary Norton’s Borrowers series was both magical and mundane – the prosaic details of the Clock family’s life beneath the floorboards, appropriating household objects – cotton reels, hairpins, old kid gloves – and using them to create a miniature version of the life of the human beans above, was somehow so easy to engage with. What did happen to all those tiny things that mysteriously go missing – could this be the answer? The fascination with things miniature – dolls’ houses, miniature villages (both of which feature in the narrative) is widely shared and Norton taps into this. The small people in T H White’s Mistress Masham’s Repose are actual bona fide Lilliputians and our heroine, Maria, an orphan (natch) finds her own salvation linked to theirs, in the face of callous and exploitative adults.
Mary Norton – The Borrowers; T H White – Mistress Masham’s Repose
Myths & Legends
As well as novels in which myth and legend intruded into contemporary life, I read various versions of the originals. Roger Lancelyn Green was one of the best, bringing me retellings of Greek, Norse, Celtic and Egyptian legends. He was one of my original sources for the stories of King Arthur, which entranced me and continue to inhabit my imagination to this day (they’ve inspired the names of both of my children). Reading both Malory’s Morte d’Arthur, which sets the tales in a medieval world of chivalric valour, and Rosemary Sutcliff’s interpretation of Arthur as Celtic warrior drew me into the complexity of the myth.
Roger Lancelyn Green – Tales of the Greek Heroes; Rosemary Sutcliff – Sword at Sunset
Fantasy and myth led me into proper sci-fi. The dividing lines between the two are often blurred and disputed but I guess at its simplest it relates to an interest in causes and process to ‘explain’ the phenomena that myth might simply present to us as a given. My first introduction was probably reading a volume of H G Wells’ science fiction, and it was The Invisible Man that had the most impact upon me (slightly surprising, perhaps, in view of my interest in timey-wimey narratives). From my parents’ bookshelves I scavenged John Wyndham’s novels, and his first three in particular (The Day of the Triffids, The Kraken Wakes, and The Chrysalids). These prepared the ground for so many dystopias and disaster movies to come…
H G Wells – The Invisible Man; John Wyndham – The Chrysalids
Reading the Detectives
As my current reading is often dominated by crime fiction, I was interested to explore the origins of that interest in my childhood reading. I was lucky enough to encounter Conan Doyle’s Sherlock Holmes stories in the volumes of the Strand Magazine that my mother had inherited. Also through my parents I discovered Dorothy L Sayers’ Peter Wimsey novels, which I re-read happily today, because whether or not one can remember who did it, one can relish the writing, the dialogue, the wit. And linking in with my historical interests, Josephine Tey’s The Daughter of Time introduced the idea of a review of a very cold case, of challenging accepted views of history through radical reinterpretation of sources.
Josephine Tey – The Daughter of Time; Arthur Conan Doyle – Sherlock Holmes; Dorothy L Sayers – Strong Poison
If anyone notices the preponderance of Puffin logos in the images above (which are where possible the covers of the very books over which I pored), that’s very apt. I relied upon regular dispatches of Puffin books to our various homes in West Africa to keep me supplied with enough quality reading matter.
Adult Life with my Head in a Book
I’ve divided this group of books into fiction and non-fiction. Again, I must repeat that these are not necessarily the Best, but they’re all books that had a huge, often visceral, impact on me, that changed me.
If Nobody Speaks of Remarkable Things/Reservoir 13
For my money, Jon McGregor is one of the finest contemporary novelists. If Nobody… was the first and still has the power to floor me emotionally, however many times I read it. Reservoir 13 is the most recent, and having read it the first time, I could only turn back to the beginning and read it again, to immerse myself in the turning of the seasons and the warmth and humanity of the writing and the characterisation.
I’ve written previously about how my prejudices were overcome once I actually read a Stephen King novel. No matter how schlocky the cover (these days the cover art tends to be rather subtler), the narrative was so compelling that I had to keep reading, hunger and tiredness were irrelevant, I had to keep turning those pages. I’ve read pretty much everything he’s written, but this was the one that got me started – having read it cover to cover, I re-read it almost immediately, being conscious that the compulsion to find out what happened next had made me rush through the pages. King is a consummate storyteller, and there’s a moral focus too. Whilst he doesn’t avoid the gross-out, he always retains that sense of the distinction between good and evil, the choices that confront ordinary, flawed human beings. And he can make those ordinary flawed human beings who confront evil believable, lovable, not just admirable.
L’Emploi du Temps/The Emigrants
Obviously I had to include these two, since the first, Michel Butor’s 1956 novel set in a fictionalised version of Manchester, has been the focus of my research during my part-time French degree, and now my PhD, which explores the connections, the dialogue, between Butor and W G Sebald. Many of my blogs, particularly the earlier ones, talk about Butor and/or Sebald in various contexts (music, maps, labyrinths, Manchester, Paris, the Holocaust…). Butor made me read Proust, Sebald made me read Kafka (I think of the two I’m more grateful to Butor, but both are essential to understand twentieth-century European literature).
Half of a Yellow Sun
This is a brilliant, powerful novel. For me it had a personal, visceral impact, in its account of the massacres carried out in the north of Nigeria, during the bloody prelude to that country’s brutal civil war. Because I was living at the time in Zaria, in the north, and whilst my parents shielded me (I was 9 years old) from the horrors, I nonetheless knew that there were horrors, and learned as a teenager and an adult more about what my parents had witnessed, about the context and the history, and about what came after, too. Chimamanda Ngozi Adichie is a splendid writer and a clear and strong voice, drily humorous and perceptive.
The Womens Room
Marilyn French’s The Women’s Room isn’t one that would make the list solely on its literary merits. It’s well enough written, but its presence here is because I read it just at the point when I was not so much becoming a feminist, but realising that I was one. I read everything I could get my hands on – Germaine Greer, Betty Friedan, Kate Millett, Susan Brownmiller, Shulamith Firestone (best name ever!), Sheila Rowbotham, Simone de Beauvoir and more. But there are things that only fiction can do, and The Women’s Room illustrated and encapsulated so many of these arguments in the story of Mira and her friends. French herself said that it wasn’t a book about the women’s movement, rather a book about women’s lives today. And because there isn’t just one voice here, but many, we are free to disagree with the most extreme viewpoints without rejecting the whole thing. The novel was accessible in a way that most of the feminist writers listed above, frankly, aren’t. And whilst it attracted plenty of criticism, it changed hearts and minds, it made so many women feel that they weren’t alone in the way they felt about the way the world worked.
Fiction can do things that non-fiction, however well-written, however accessible, can’t. But very often fiction leads me to non-fiction – I want to know more about the place, the period, the events that the fiction describes. The next list is of books that illuminated what I read in the newspapers and in novels, and what I watched on TV and at the cinema. They may not be definitive works, they may have been overtaken by subsequent research, and for various reasons they aren’t books that I will read again and again, but they were my way into topics which have preoccupied me over very many years. If the overall impression is that, well, it’s all a bit grim, I can only acknowledge that as a true reflection of what I read. I don’t immerse myself in grimness for the sake of it but from a deep need to understand and the sense that as privileged as I am in so many ways I have no right to look away, to choose not to know. I still believe in humanity, despite everything.
We Wish to Inform You That Tomorrow We Will Be Killed With Our Families: Stories from Rwanda
I read the newspaper reports coming out of Rwanda in 1994 but it took me a long time to seek out the full story of what had happened there. Perhaps that’s partly because I knew how powerfully it would connect emotionally with what had been happening around me in Northern Nigeria in 1966. Philip Gourevitch’s 1998 book is not a definitive history of Rwanda, and arguably lacks some of the context that is necessary to understand why the genocide happened. But it’s clearly unreasonable to expect every book on a complex issue to cover everything, to be everything. Gourevitch’s focus is on the testimony of survivors, and thus on the accounts of specific atrocities. It’s vital and horrifying and heartbreaking.
The War Against The Jews, 1933-1945
My introduction to the Holocaust was, as for so many, reading Anne Frank’s diary. But her diary can only raise questions, not provide answers. She knew so little of what was happening to Jews in Amsterdam and across Europe, only what the adults with whom she shared the Annexe themselves knew and allowed her to hear. When we read her words we are encountering a real person, a child on the verge of adolescence, a bright child, who might have been ordinary or extraordinary, who knows, but whose circumstances were so extraordinary that we read her words weighed down by our own knowledge of what was happening around her, and what would happen to her. The simple questions – why did they have to hide? why did they have to die? – require answers not to be found within the pages of the diary. My next step was the TV series Holocaust – controversial and flawed but hugely valuable to a generation who suddenly saw how what happened to Anne Frank fitted within this huge picture, in which the members of one Jewish family between them encounter Kristallnacht, Aktion T4, the Warsaw Ghetto, Sobibor, Terezin, Auschwitz…
Holocaust led me to Lucy Davidowicz’s 1975 account of the war against the Jews. This is not the definitive study – as if there could be such a thing – and has been harshly criticised by Raul Hilberg in particular, for its lack of depth and rigour. But it got me started, it gave me an overview and led me to read extensively amongst the vast literature on the subject, exploring not just what happened, but why and how and who, and the implications for the generations since (Middle East politics and international law in particular).
And the Band Played On: Politics, People, and the AIDS Epidemic (1980–1985)
I remember during the mid-1980s the first newspaper articles about a ‘gay plague’, and the emerging moral panics, the information leaflets and the ‘tombstone’ advert on TV. Randy Shilts’ 1987 book was what made sense of that mess of misinformation, prejudice and ignorance. It’s a work of investigative journalism, particularly in relation to the response and actions of medical researchers, but it’s also, always, personal. As a gay man in San Francisco, Shilts was not writing about something that was happening to ‘others’ but something that was happening to his own community and, ultimately, to him (he was confirmed to be HIV positive in 1987, having declined to find out his status whilst writing the book in case it skewed his approach, and died in 1994, aged only 42). It’s an often shocking book, heartbreaking and as compelling a page-turner as any detective novel.
Bury my Heart at Wounded Knee: An Indian History of the American West
James Michener’s massive, sweeping novel based on the story of a Colorado town, Centennial, was my introduction to many aspects of American history. Michener transposed many historic events, in particular the Sand Creek massacre to his fictional location so that through the lives of people in that one town (more or less) the great themes of US history could be touched upon.
I was fairly well-versed in the Civil Rights movement, having read not only about Martin Luther King but about the Black Panthers, Angela Davis and George Jackson. But my knowledge of the story of the Native Americans was patchy, to say the least. I knew enough to be sure that the portrayal in the westerns I’d watched as a kid was at best simplistic or romanticised and at worst racist, but Centennial made me want to know much, much more.
Dee Brown’s book is explicitly an Indian history (published in 1970, when presumably that terminology was still felt to be OK….) in which the Native American peoples are at the heart of the story of their own land. It’s a brutal story – they were lied to and stolen from, they were forced into dependency and then vilified for that dependency, and they were murdered in huge numbers. Brown’s history takes us up to 1890 and the Wounded Knee Massacre (sometimes referred to as the Battle of Wounded Knee which gives a rather false impression) which is seen as marking the end of the ‘Indian Wars’ – though not the end of conflict or of killing.
I found out recently about a series of murders of Osage people in Oklahoma in the early 1920s, motivated by the discovery of big oil deposits beneath their land and involving legal trickery to secure the inheritance of the victims (whose deaths were initially seen as being from natural causes). David Grann’s Killers of the Flower Moon is a fascinating read, a true-crime account which takes the story of the genocide a generation onwards, a small-scale version of what happened to the indigenous peoples across the continent.
All the President’s Men
This could scarcely be more pertinent, as Bob Woodward, one of the Washington Post reporters responsible for this account of the Watergate break-in and the scandal that brought down President Nixon has just published Fear: Trump in the White House… At the time it was all happening I followed events avidly, finding it hard to credit that such a plan could have been dreamed up, executed (incompetently) and then covered up (incompetently) at such high levels of government. The intervening years have made it easier to believe such things… This book, which appeared as the story was still fresh and new, was a brilliant piece of journalism, with all of the tension of a detective story. There was a follow-up, The Final Days, describing the end of Nixon’s presidency, and many other books, including from some of those implicated (such as John Ehrlichman, whose account was the basis of the 1977 TV mini-series, Washington: Behind Closed Doors, in which an all-star cast portray President Richard Monckton and his aides, associates and accomplices).
So, that’s my ten books… Ten themes in the books I devoured as a child, ten books (five – oh, OK, seven if you’re going to be picky – fiction, five non-fiction) that I read as an adult that have in one way or another stayed with me. I was never going to be able to pick just ten, was I?
Some of the cultural highlights of my year – a year of working at home, long train journeys to long meetings which gave me more time to read, less time to go to the cinema or the theatre. However, I did manage a few outings…
- Twelfth Night at the Crucible – a real delight. I’d been disappointed that we weren’t getting a tragedy or one of the problem plays, rather than a comedy that I’d seen on stage before, but that feeling evaporated very quickly indeed. The performances were excellent, the staging imaginative and suggestive of darker undercurrents (the cast appearing at windows almost like the undead, the showers of rose petals – see also Poppeia).
- Brilliant opera at Leeds Grand – La Boheme, and The Coronation of Poppeia. And another Boheme, this time in Graves Gallery, from Opera on Location.
- Music in the Round – I’d pick out the Schubert octet, Tim Horton’s bravura performance of the Prokofiev Piano Sonata no. 7 (described by the Guardian as ‘ferocious’), Charlie Piper‘s WWI suite, The Dark Hour; works by Schulhoff & Haas, and consort of viols, Fretwork.
- Once again we celebrated Tim Richardson’s life and passion for learning and teaching with the 24 Hour Inspire – 24 hours of lectures on a host of topics, from WWI poets to insect sex, from biogeography to Mozart, from underground science to fairground history – ok, you get the picture. Once again a host of people stepped up to help, everything ran smoothly, and we were able to donate to Rotherham Hospice and Impact Young Heroes. We’ll be doing it again on 16-17 April 2015. Tim’s charity, Inspiration for Life, goes from strength to strength.
- I revisited the City Ground after far too many years, for the first home game of the season, and Stuart Pearce’s first game as manager. That was a great game. We’re in a slump at the moment, and that early euphoria has dissipated. If it was anyone but Psycho in charge I suspect the calls to sack the manager would be ringing out right now, but few Forest fans would want to deny him the chance to turn things around. I hope he can. I really, really, hope he can.
Top TV of 2014
No attempt at ranking. How could one decide on the relative merits of a gritty cop drama and a comic book fantasy? So, what do all of these shows have in common? First, excellent writing, and great performances. Essential to have both. So many big budget dramas skimp on the former and blow the budget on the latter, but even the best actors can only do so much with a script that clunks. Second, great female characters. All of these programmes basically kick the Bechdel test out of the park. It’s not just about having ‘strong’ women. Not all women are strong, and no women are strong all of the time. It’s about having women characters who are rounded human beings, fallible and flawed, but not dependent on men to make decisions or to solve problems. Some of these women do indeed kick ass, but they don’t all have to. So, to Nazanin Boniadi, Alison Brie, Yvette Nicole Brown, Amelia Bullmore, Lauren Cohan, Clare Danes, Siobhan Finneran, Danai Gurira, Keeley Hawes, Elizabeth Henstridge, Gillian Jacobs, Suranne Jones, Nimrat Kaur, Sarah Lancashire, Melissa McBride, Vicky McClure, Tatiana Maslany, Lesley Sharp, Allison Tolmin, Ming-Na Wen and the rest – cheers, and thanks for giving us images of women that are as diverse and complicated as actual real live women are.
- Fargo – I was decidedly unconvinced beforehand, but it turned out to be funny, gruesome, and touching, with one of my favourite women cops in Allison Tolmin’s Molly (not just a re-run of Frances McDormand’s marvellous Marge from the film, but a character in her own right), Billy Bob Thornton as a grimly hilarious killer and Martin Freeman as a weaselly one, and a wealth of other characters, some of whom we came to care about so much that at tense moments there was much yelling at the screen as we thought they might be in danger.
- Line of Duty – I wasn’t convinced about this one either, mainly because the first series had been superb, and I wondered if they could match it. They did, and it was Keeley Hawes’ performance that clinched it. Whilst I’d watch Vicky McClure in anything, Keeley wasn’t in that category for me, despite Ashes to Ashes. But in this she was riveting, absolutely mesmerising. The rest of the cast was superb too.
- Happy Valley was perhaps the most ironically titled programme of the year. This valley was pretty damned grim. But Sarah Lancashire as cop Catherine Cawood was wonderful, and the story was compelling and moving.
- Scott & Bailey maintained its form in series 4. The three central women (count them! three central women!) are all convincingly real, sometimes infuriatingly so.
- The Walking Dead opened series 5 with an episode so gripping that I really could neither breathe normally nor speak for quite some time. It’s maintained that tension (more or less) whilst varying the format, to focus on different subsets of the characters, and different locations. Carol has been central to this season’s episodes so far, and her character is one of those that has been allowed to develop and deepen throughout. There’s no shortage of other interesting characters, and the plot allows for philosophical, political and ethical speculation as well as for gory shocks and suspense.
- Agents of Shield got past a slightly wobbly first series and got its pace and tone just right. It fits right into the Marvelverse, but stands alone perfectly well. And it features girl-geek Simmons, a Sheffield lass, and there’s just a hint of South Yorkshire in her accent from time to time.
- Community made me laugh more than anything else this year. Just when you think it is as bonkers as it could be, it ups its game, to be even more meta, and even more daft.
- Doctor Who I have spoken of elsewhere. I have a deep love for this programme, and whilst this regeneration has been unsettling at times, uncertain in tone perhaps, I have great hopes for Capaldi and Coleman in series 9 next year.
- Homeland redeemed itself. Gripping stuff, with Clare Danes acting her socks off and getting us deeper into what makes Carrie tick.
- Orphan Black is one of the most criminally underrated programmes of this (and last) year. Tatiana Maslany inhabits each of the characters she plays so well that I forget – disbelieve almost – that there is just the one actress involved. And when she’s playing one of them pretending to be one of the others…. Cracking plot too.
Films of the year – I leave the in-depth cinematic reviews to Arthur Annabel who promises an extensive blog on this topic soon. I simply note these as films which have delighted and/or moved me, in no particular order. Worth noting that whilst the programmes on my TV list get A* on the Bechdel test, the films are considerably weaker on that front. Nonetheless, some fine performances, and Nicole Perlman was the first woman with a writing credit on a Marvel movie (Guardians of the Galaxy).
Women of the year:
Jack Monroe – for enlivening my repertoire of meals to feed the family, and campaigning about food poverty
Professor Monica Grady – for being emotionally, exuberantly passionate about science
Laura Bates – her Everyday Sexism project helped to give women a voice, to tell their stories, to shout back.
In 2014 I’ve blogged about refugees, genocide, football, W G Sebald and Michel Butor, Kazuo Ishiguro, everyday sexism, Tramlines, Josephine Butler and Doctor Who. I got a bit personal on the subject of depression, and was inspired by Caitlin Moran’s How to Build a Girl to present my manifesto – a plea to just be kind. And my blog about reading the last of the Resnick series of detective stories won the approval of the author, John Harvey, who linked to it on his own blog, and republished my jazz playlist!
Amongst the blogs I’ve followed, or at least tried to keep up with, I would particularly note Searching for Albion. This is the record of Dan Taylor’s four month cycling trip across the British Isles, talking to people he meets, by plan or by chance. A fascinating project, beautifully documented.
To all of those who’ve shared some of the above events, obsessions and enthusiasms with me, who’ve given me support when I’ve needed it, who I’ve learned from and with, thank you. I don’t know what to expect from 2015 – but see you there!
We go back a fair few years, Charlie and me. Pretty much instant, the connection, the attraction too. We had things in common – places (though I lived near Nottingham as a teenager, so my Nottingham wasn’t his – it was the Playhouse, Goose Fair, the City Ground, and the shops), music (listening to Miles as I write this), cats (ours was called Mingus. RIP), football (I was on the Trent End, still loyal to the Reds to this day, glory days long past, whilst he’s a County man).
Never very lucky in love, our Charlie. But attractive to women, no question. That crumpled, rumpled melancholy hard to resist – had we met in person, I’d have spectacularly failed to do so – but making it work in the long term, a lot tougher. He nearly found that, so very nearly, and it broke my heart when… but I won’t say, in case you don’t know, and if you don’t, you need to go back, as I’ve just done, to Lonely Hearts, and make his acquaintance for yourself, and follow him through the years, through to Darkness, Darkness.
I won’t say much about Darkness, Darkness, except that, as so many reviewers have already said, it’s a fitting coda to the series. It focuses on the miners’ strike – an event which still reverberates in Nottinghamshire and South Yorkshire, so that Nottingham football supporters still get called scabs by Yorkshire football supporters, though in both cases their parents were toddlers, if that, at the time of the strike – but it encompasses so much more. It’s an elegy really, a blues for Charlie.
So many of the cops whose investigations we follow on screen or on the page seem to be constructed according to a formula. A bit of (preferably traumatic) back story, a few quirks (an addiction, past or current, an obsession), and a tendency to go off piste, to break the rules. That can work – Rachel Bailey comes storming off the screen and the page (in Cath Staincliffe’s excellent novels) and into real life, so that when she (inevitably) does something monumentally daft, we, along with her long-suffering colleagues and friends, want to yell at her, shake her into common sense. The best ones, the ones we re-read even when we remember exactly who dunnit, where, why and how, turn that formula into someone we can invest in, not just in their ability to put the bad guy behind bars, but in their humanity, their vulnerability, their emotional life. And Charlie is one of the best, no question. Of course he has a back story (a broken marriage, nothing out of the ordinary), and a few quirks (his tendency to wear his most recent meal on his shirt front or his tie, for example). But he’s a rounded (and that’s not a crack about his waistline), nuanced, complicated character,
And so many of the narratives of crime and punishment that we consume rely on convoluted plots – plots not just in the sense of the narrative arc, but machinations, devilishly clever serial killers, hidden identities, etc. All very enjoyable, but bearing, one imagines, little relation to the day to day of policing. We suspend our disbelief, accept for the duration that in the picture postcard villages of Midsomer a deranged serial killer lurks behind every cottage doorway, or that the academics of Oxford are busier plotting their next murder than preparing their next research bid. The volume and the type of crime here is a tad more realistic, Charlie’s cases are more likely to involve cock-ups than conspiracies, individuals with chaotic lives committing chaotic crimes, often with consequences they could never have imagined. It’s not that there aren’t any serial killers, or any conspiracies, but they are interwoven with the mundanity, the banality, of ‘normal’ urban crime.
The other trope that those of us who watch the detectives can get a bit weary of, or even sickened by, is the reliance on sexual violence as a plot device. Again, this does feature in Charlie’s caseload over the years, as you’d expect. But there’s nothing sexy, nothing titillating here. The reality of rape and the fear of rape, the murky areas of human sexuality, the casual violence of language used towards women, are all shown clear-sightedly and compassionately, through Charlie’s eyes. It’s not that he’s so very PC. But his attractiveness to women isn’t just about his crumpled melancholy, it’s about his instinctive respect, his empathy. Even when he’s getting it wrong (as he does, often), fundamentally he’s a good man, someone you could lean on, trust. Those murky areas, and how fiction deals with them, are not just sub-text either – in both Living Proof and Still Water we confront them head on.
There’s so much humanity in these stories. And there’s music of course, flowing through them. There’s Millington’s regular assaults on the Petula Clark songbook, the bands at the Polish Club where Charlie dances with Marian, or the Otis Redding track that was playing when he met Elaine… But it’s the jazz that’s vital. It’s integral, it’s the atmosphere, those blue notes echoing Charlie’s melancholy, bringing out the noir on Nottingham’s mean streets. It’s the soundtrack to what we see of his life, to the daily grappling with petty crime, dysfunctional families, and the viciousness and brutality of which human beings are capable, and with the politics of policing, the admin, the power play. He goes home, and he finds a record, a track, that echoes his mood and as the music is described we can almost believe we’re hearing it too, the descriptions so vivid, so perceptive.
And so it seemed fitting, as I re-read the books, focusing less on the plot and more on the atmosphere, the background, the soundtrack, to put together a little playlist. One song for each novel. I hope Charlie would approve.
‘He’ll be okay. He’s got a flat white and yet another version of ‘Blue Monk’ to keep him warm’ (Darkness, Darkness, p. 416).
I’ll not worry about him then, and lord knows I have done sometimes, wondering if the sadness and the loneliness in him would take him over. But he’ll be okay. Cheers Charlie.
A Resnick playlist
Lonely Hearts (1989) Billie Holiday – (I don’t stand a) Ghost of a Chance (with you) (Music for Torching, 1955)
Rough Treatment (1990) Red Rodney Quintet – Shaw ‘Nuff (Red Rodney Returns, 1959)
Cutting Edge (1991) Art Pepper – Straight Life (Straight Life, 1979)
Off Minor (1992) Thelonious Monk – Off Minor (Monk’s Music, 1957)
Wasted Years (1993) Thelonious Monk – Evidence (Thelonious Monk at the Blackhawk, 1960)
Cold Light (1994) Duke Ellington Orchestra – Cottontail (The Carnegie Hall Concerts, 1943)
Living Proof (1995) Stan Tracey Duo – Some Other Blues (Live at the QEH, 1994)
Easy Meat (1996) Billie Holiday – Body and Soul (Body and Soul, 1957)
Still Water (1997) Miles Davis – Bag’s Groove (Bag’s Groove, 1957)
Last Rites (1998) Sandy Brown – In the Evening (In the Evening, 1970)
Cold in Hand (2008) Bessie Smith – Cold in Hand Blues (1925, The Bessie Smith Story, Vol. 3, 1951)
Darkness Darkness (2014) Thelonious Monk – Blue Monk (Thelonious Monk Trio, 1954)
What we don’t know is more interesting than what we know, both in the sciences and in the arts. The classic detective story is a puzzle which must, to satisfy its readers, provide a solution, tie up loose ends, arrange retribution, and restore the natural order of things (typified in many of the TV detective series I recall from the 1970s by the postscript where they all go home and have tea, and a bit of a laugh, no matter how traumatic the preceding events have been). The satisfaction of the tidy ending can simultaneously be a disappointment. The final ‘reveal’, the scene where someone (the brilliant detective’s slightly dozy sidekick, perhaps) says, ‘But what I still don’t understand is…’, allowing the brilliant detective to resolve that last apparent anomaly, leaves the reader or viewer little to ponder on once the book is closed or the credits have rolled.
To be fair, the best examples of the genre, whilst making use of its conventions and tropes, also stretch and subvert them. The detective novels that have remained in print for decades are those which have more to satisfy the reader than merely the solving of a riddle. We might re-read or re-watch a lesser work once, just to spot where the clues were if we’d been bright enough to pick them up, or even in the hope of finding a continuity error or plot hole, but we’re not likely to revisit them repeatedly. In my many re-readings of, for example, Dorothy L Sayers’ Lord Peter Wimsey novels, in contrast, it’s not the plot, but the characters, the quality of the writing that give repeated pleasure.
If the classic mystery, the ‘roman enigme’, is a puzzle to be solved, and, like a completed crossword, of limited interest thereafter, the ‘roman noir’, is a more complex and nuanced narrative. Tellingly, it flourished in the ’40s and ’50s in France, often taking the Occupation as subject and setting (Atack, 2010), providing a medium in which the ambiguities of the era could be explored, but has also been used more recently by such writers as Didier Daeninckx, to stage ‘complex crimes that to be solved involve precisely a return to the past, to the hidden history of State and/or establishment criminality’ (Gorrara, 79) (see Daeninckx’s Meurtres pour Memoires, which uncovers two dark and hidden areas of France’s past, the massacre of Algerian demonstrators in Paris in 1961, and the wartime deportation of Jews, events linked by one man, Maurice Papon).
The roman noir takes the reader well off the tourist map, into a city of shadows and secrets, into the realm of the uncanny. In this labyrinth, the detective wanders the streets, as shadowy and ambiguous a figure as those he tracks – indeed, as Butor said, the flaneur-detective and the criminal ‘are at bottom identical. The second places his steps in the footprints of the first who remains unaware of him, although the former is without knowing it the initiator, the guide of the second’ (Histoire extraordinaire, p. 33). Walter Benjamin drew on Baudelaire‘s fascination with Poe’s ur-detective story, ‘The Man of the Crowd’, to link the flaneur and the detective when he wrote that ‘No matter what trail the flaneur may follow, every one of them will lead him to a crime’. This is highly ambiguous – is the flaneur a detective, tracking down transgressions and transgressors, or a criminal, whose wanderings are themselves transgressive and/or may lead him into crime/to commit crime? (McDonough, 101).
Michel Butor’s Passing Time isn’t a detective novel, though one critic described it as of the fusion of this genre and the experimental novel. But his Bleston is the perfect setting for a ‘roman noir’, a place of shadows and labyrinthine streets, a place where fear and suspicion are in the air. Butor was ‘devouring’ detective novels at this time, and right at the heart of Passing Time, he places an exposition on the principles upon which they are constructed. Crime novelist George Burton (alias J K Hamilton) argues that every detective novel is based around two murders, the crime itself, and the (symbolic or actual) destruction of the criminal by the detective when they are exposed, killed by ‘the explosion of truth (143-4). The detective’s role is to ‘disturb and probe, to expose and alter things’, to tear off veils and masks, abolish errors, ignorance and lies, to cleanse ‘this small fraction of the world’ from its offence and the defilement that the murder brings with it. According to Burton, he is:
‘the true son of the murderer Oedipus, not only because he solves a riddle, but also because he kills the man to whom he owes his title, without whom he would not exist in that capacity (without crimes, without mysterious crimes, what would he be?) because this murder was foretold for him from the day of his birth or, if you prefer, because it is inherent in his nature, through it alone he fulfils himself and attains the highest power’ (145)
The detective novel superimposes two temporal sequences, that which begins with the discovery of the crime and concludes with the discovery of its perpetrator, and that which leads up to the crime, which is reconstructed by the detective (not necessarily emerging in a linear form, but usually presented to us as such at the climax of the novel). Similarly, Passing Time has a linear time frame beginning in May when Revel starts writing his journal, and ending in September with his departure from Bleston, but his journal narrative begins in October with his arrival, initially linear but gradually becoming ‘a desperate attempt to account for several months simultaneously, ending as the narrator leaves the town with the awareness that no year can ever be completely recovered, as the lack of time to describe the events of February 29 so symbolizes’ (Lloyd, 2005, pp 143-4).
Just as there are (at least) two time frames, there are (at least) two texts, that which gives the true version of events, which the guilty party has erased, or tried to erase, and the alternative version of events which has been superimposed upon it. The detective’s goal is to uncover the true story from the traces left behind, to decipher and restore the palimpsest.
The detective novel itself, a green Penguin crime title, with a blank space where the author photograph normally appears, is the trigger for most of the events in the narrative. (I should say, the books themselves, since Revel buys two copies, and Ann a third.) Revel is attracted by the ambiguity of the title – Le Meurtre de Bleston could refer at the same time to a murder committed in Bleston, and to the murder of Bleston, thus allowing him ‘to enjoy a small private revenge against this town’ (54). But it becomes ‘an auxiliary so precious that I can almost say that a new phase of my adventure began at the instant when … I read for the first time those opening words which I now know by heart’ (55). The precision with which the author describes the city and its monuments suggests to him that the story might be based on real events, leading him to attempt his own detective work when the book’s author is injured in an ‘accident’. More than that, Revel feels that he’s being led along:
‘through a newspaper poster I had discovered J C Hamilton’s detective story, The Bleston Murder; through reading this I had discovered the Murderer’s Window, which in its turn had given rise to this conversation with its closing words of advice to visit the New Cathedral. It was as though a trail had been laid for me, at each stage of which I was allowed to see the end of the next stage, a trail which was to lead me hopelessly astray’ (80).
The book(s) wander(s) through Bleston just as their owner does. Linking all of Revel’s contacts in Bleston (his landlady, the two sisters with whom he consecutively falls in love, his colleague Jenkins, his compatriot Lucien) with the single exception of Horace Buck, the African worker who befriends him, and linking via the sisters to their friends and thus to the suspected real life counterpart of the book’s perpetrator, it is passed on, lost, replaced (in a second-hand version with an indecipherable signature), and reappears in a bewildering sequence.
The re-reading of detective novels is expounded upon here too. Revel justifies his re-reading of The Bleston Murder on the basis that it is ‘a precious guide for a newcomer among the perplexities and misunderstandings of that city’ , but for Jenkins, an aficionado of the genre, ‘they take on a kind of transparency. As you trace out the illusions of the beginning, you glimpse the truth that you remember more or less clearly’ (88).
Revel becomes a detective, to unravel his own past and reconstruct it. But his quest is doomed to failure, there is no final revelation. For the writers of noir, and the nouveau romanciers, the Borgesian imminent revelation often remains imminent, unrealised, or reveals a new mystery. If the narrator/hero finds a path through the labyrinth, ‘it is only to discover that the exit is really an entrance, that the labyrinth solved is no more than a labyrinth within a greater labyrinth’ (Porter, 256). And so nothing here is finally resolved. Revel’s feud with the city ends with an uneasy truce (‘We are quits’ (249)), the ‘accident’ that fuels his guilt and his suspicions appears ultimately to be just an accident, the only murderers he encounters are fictional or mythical. There is no return to the harmony of an established order. But the process of interpreting the palimpsest, reconstructing the past, following the trail and making the links does start something, not contained within the arbitrary parameters of the narrative:
‘Thus each day, evoking other days like harmonics, transforms the appearance of the past, and while certain periods come into the light others, formerly illuminated, tend to grow dim, and to lie silent and unknown until with the passage of time fresh echoes come to awaken them. Thus the sequence of former days is only restored to us through a whole host of other days, constantly changing, and every event calls up an echo from other, earlier events which caused it or explain it or correspond to it, every monument, every object, every image sending us back to other periods which we must reawaken in order to recover the lost secret of their power for good or evil’ (283)
Margaret Atack, ‘Representing the Occupation in the Novel of the 1950s: Ne jugez pas’, Cincinnati Romance Review, 29 (2010), 76-88
Michel Butor, Passing Time, translated by Jean Stewart (London: John Calder, 1961)
– Histoire Extraordinaire: Essays on a Dream of Baudelaire’s, translated by R Howard (Jonathan Cape, 1969)
Didier Daeninckx, Meurtres pour Memoires (Paris: Gallimard, 1984)
Claire Gorrara, The Roman Noir in Post-War French Culture: Dark Fictions (Oxford: Oxford University Press, 2003)
Louise Hardwick (ed), New Approaches to Crime in French Literature, Culture and Film (Bern: Peter Lang, 2009)
Rosemary Lloyd, Shimmering in a Transformed Light: Writing the Still Life (Cornell UP, 2005)
Tom McDonough, ‘The Crimes of the Flâneur’, October, 102 (2002), 101-22
Edgar Allan Poe, ‘The Man of the Crowd’, Selected Tales (Oxford: Oxford University Press, 2008)
Dennis Porter, The Pursuit of Crime: Art and Ideology in Detective Fiction (New Haven; London: Yale UP, 1981)