Emily Rhodes | The Spectator columnists & writers

Seeing and being seen: Wet Paint, by Chloë Ashby, reviewed

In this arresting debut novel we follow 26-year-old Eve as she tries to come to terms with the loss of her best friend Grace. Flashbacks punctuate the present day of Eve’s London life, gradually revealing her role in the grim circumstances of Grace’s death. Eve lives in a flatshare with a patronisingly well-meaning couple who give her cheap rent in exchange for cleaning. The awkward dynamic is made worse by Eve’s casual kleptomania (helping herself to Karina’s lipstick, necklace, gloves and dressing gown) and by the inappropriate leers of Bill ‘who likes to start conversations when I’m wrapped in a towel’. At the restaurant where she works as a waitress, Eve is thrown by the shock of seeing Grace’s parents, slaps a customer who gropes her leg and promptly loses her job.

A modern Medea: Iron Curtain, by Vesna Goldsworthy, reviewed

Vesna Goldsworthy’s finely wrought third novel explodes into life early on with a shocking scene in which Misha — the boyfriend of our protagonist, Milena Urbanska — returns from a short, tough spell of military service, initiates a game of Russian roulette (‘the only Russian thing I could face right now’) and blows his brains out. It is 1981. Misha and Milena are children of the political elite in an unnamed capital city in the Eastern Bloc. As such, they are afforded privileges their compatriots lack: palatial homes, preferential treatment, western luxuries as seemingly innocuous as cans of Bitter Lemon from Italy and imported tampons, instead of ‘the scratchy home-produced sausages of grey cotton waste encased in a flimsy net that.

The stuff of everyday life: Real Estate, by Deborah Levy, reviewed

Real Estate is the third and concluding volume of Deborah Levy’s ground-breaking ‘Living Autobiography’. Fans of Levy’s alluring, highly allusive fiction will appreciate the insights into her life; moreover, anyone with an ounce of curiosity will be fascinated by her compelling tour of city streets, island rocks and meandering diversions into ideas from a wealth of writers and artists. We begin the book with the author buying a plant from a flower stall. (Our modern-day Mrs Dalloway purchases a banana tree in Shoreditch rather than cut flowers in Westminster.) Levy then steps from this familiar act of flower-buying into the world of Georgia O’Keeffe, and we accompany her ‘from the bagel shops and grey cobblestones of east London to the deserts and mountains of New Mexico’, where she presents us with a beautiful quotation from the artist: ‘When you take a flower in your hand and really look at it, it’s your world for the moment.

The art of negotiation: Peace Talks, by Tim Finch, reviewed

Early on in Tim Finch’s hypnotic novel Peace Talks, the narrator — the diplomat Edvard Behrends, who facilitates international peace negotiations — reflects: ‘Peace talks settle into this repeating pattern after a while, a pattern like that of the floor carpets in places like this conference centre, in which a polygonal weave mesmerises the eye almost to a vanishing point.’ He is commenting on the lonely, relentless routine of the talks, walks, meals and drinks, as official negotiations inch forward, stall, reverse and proceed again over the course of months.Alongside the diplomatic conference, another type of peace talk is underway: the meandering, intimate prose of the novel’s first-person narrative from Edvard to his wife Anna.

Male violence pulses through Evie Wyld’s The Bass Rock

‘It’s a woman’s thing, creation,’ says Sarah,a girl accused of witchcraft in 18th-century Scotland, in one of the three storylines in Evie Wyld’s powerful new novel. Sarah is pregnant, having been raped and nearly killed. She is looking at a piece of sacking sewn by a sister and mother, and continues: ‘You can see how they felt in each stitch, you can hear the words they spoke to each other and into the cloth.’ The Bass Rock is in many ways an amplification of these words spoken into the cloth, a feminine counterforce to the masculine violence that pulses viscerally throughout. Stitched around Sarah’s story are Viv’s contemporary thread, and Ruth’s in the 1950s; all three take place in Scotland, in the shadow of the looming Bass Rock of the title.

Hell and high water: eco-anxiety dominates Jenny Offill’s latest novel

Lizzie, the narrator of Jenny Offill’s impressive third novel Weather, is ‘enmeshed’ with her brother, according to her psychologist-cum-meditation teacher. The word ‘mesh’ returns a few pages later, in a podcast, referring to the interconnectedness of different species: ‘a better term than “web”, they think’. With its paradoxical meaning of both containing spaces and joining things together, ‘mesh’ could be used to describe the unusual form of this novel, which is written in short paragraphs, separated widely on the page, yielding a patchwork of Lizzie’s fragmentary thoughts and observations about life in contemporary New York, and the people caught up in it. If Lizzie is enmeshed with her brother, a former addict who will struggle with a new marriage and baby, there’s also a host of other characters caught in the mesh of her life.

Kathleen Jamie’s luminous new essays brim with sense and sensibility

There is a moment in one of the longer pieces in Surfacing, Kathleen Jamie’s luminous new collection of essays, when the author trains her binoculars on an animal in the distance. She is on an archaeological dig in Quinhagak, a Yup’ik village in Alaska. Unsure as to what the creature is — perhaps a bear, or perhaps a woman picking berries — she waits for it to move: ‘After long minutes, my woman-or-bear spread two black wings and took to the air. A raven!’ She wonders: Maybe it showed how readily, in this unfixed place, the visible shifts. Transformation is possible. A bear can become a bird. A sea can vanish, rivers change course. The past can spill out of the earth, become the present. It’s just one example of how Jamie marries keen sensory observations with a metaphysical sensibility.

Jessie Burton’s The Confession is, frankly, a bit heavy-handed

Jessie Burton is famous for her million-copy bestselling debut novel The Miniaturist, which she followed with The Muse. Now she’s written her third, The Confession. Like The Muse, it is a double narrative, moving between the early 1980s and 2017 (a departure from the historical settings of her previous books). In 1980, 20-year-old Elise meets Connie — ‘a vixen, upright on her legs’ — on Hampstead Heath. Elise soon forms an intense relationship with this older woman, a successful writer, but when they go to Los Angeles for the filming of Connie’s novel, cracks begin to show. In 2017 we are with Elise’s daughter, Rose, who’s spent her life inventing stories about her mother to try to fill her absence, unexplained since she left her as a baby.

Brutish Brits

Damian Barr explains the upsetting genesis of his impressive debut novel, You Will Be Safe Here, in his acknowledgements: This story began with a picture of a boy in a newspaper. That boy was Raymond Buys and he’d been killed in a camp not unlike New Dawn. He was just 15. This book is dedicated to him. So the novel opens with a prologue in which a boy, Willem, is left at the New Dawn camp, south of Johannesburg, in 2010. Then Part One takes us back to 1901, to the diary entries of Mrs Sarah van der Watt, about to be taken from her farm — which she watches burn under the British scorched earth policy — to a concentration camp near Bloemfontein. Sarah’s voice is intimately rendered in her diary, where she records what she and her young son suffer at the hands of the British, and which she addresses to her husband, away fighting: ‘Knowing you will some day read this, believe this, is all that’s keeping me sane.

The cruise of a lifetime

Near the start of Fleur Jaeggy’s extraordinary novel Proleterka, the unnamed narrator reflects: ‘Children lose interest in their parents when they are left. They are not sentimental. They are passionate and cold.’ Passionate and cold is also an apt description of Jaeggy’s writing: the fierceness of her words erupts from the seams of her tiny, frigid sentences, sometimes just a word or two long. It also fits the narrator, even though she evidently hasn’t lost as much interest in her abandoning parents as she’d like. Her ‘sudden desire’ for her father’s ashes opens the book; then we are plunged back into her recollection of a fornight’s holiday with him on a cruise to Greece on SS Proleterka when she was 15. The narrator’s awkward, distant relationship with her parents is felt in Jaeggy’s shifting, interchangeable terms for the characters.

A violent, surrealist world

Kristen Roupenian’s debut collection, You Know You Want This (Cape, £12.99), comes hotly anticipated. Her short story, ‘Cat Person’, went viral when the New Yorker printed it in December 2017, becoming the second most read article published by the magazine that year. Told in an apparently simple, confessional voice, it recounts 20-year-old Margot’s courtship with 34-year-old Robert, beginning when she flirts while selling him sweets at an art-house cinema, building via text messages, culminating in a night of terrible (for Margot) sex from which she can’t quite be bothered to extricate herself, and continuing in the nasty afterlife of Robert’s increasingly aggressive texts. Everyone read it and everyone argued about it.

The witching time

All Among the Barley, Melissa Harrison’s third ‘nature novel’, centres on Wych Farm in the autumn of 1933, where the corn fields are ‘acres of gold like bullion, strewn with the sapphires of cornflowers and the garnets of corn poppies and watched over from on high by larks’. Our narrator, 14-year-old Edie, has finished school and her older brother Frank tells her: ‘Something will happen next, and you should choose it.’ In Edie’s provincial life, her choices are limited. Essentially, she can stay at home and help on the farm, marry like her older sister and ‘push out a baby a year’, or become a teacher — she is sufficiently clever, but finds children ‘exasperating’. As the novel progresses, two radical options present themselves.

Ways of escape | 28 June 2018

Olivia Laing has been deservedly lauded for her thoughtful works of non-fiction To the River, The Trip to Echo Spring and The Lonely City. Her first novel, Crudo, is every bit as intelligent and provocative, with a roar of energy that comes from having been written, remarkably, in just seven weeks. Perhaps the novel’s most unusual element is its narrator: ‘Kathy by which I mean I’ is a 40-year-old hybrid of the post-punk icon Kathy Acker and a fictionalised version of Laing herself. Acker died in 1997, but Laing brings her back to life for the politically turbulent summer of 2017. She peppers her prose with quotations from Acker’s writing and merges episodes from Acker’s life, such as her repeated breast cancer and her mother’s suicide, with Laing’s recent marriage to the poet Ian Patterson.

Love’s myriad forms

Carmen Maria Machado’s debut collection Her Body & Other Parties (Serpent’s Tail, £12.99) takes a confident straddle across speculative fiction, erotica, fable and horror. In these electric stories, the author explores the challenges and promises of women’s bodies with forceful verve. In ‘Real Women Have Bodies’, a mysterious illness makes women gradually fade away; many of them ask a seamstress to stitch their disappearing bodies into the fabric of dresses. In ‘The Husband Stitch’, a woman gives herself completely to her husband and son, insisting only that they never touch the ribbon she always wears around her neck. When this tiny privacy is not permitted, we see just how much unravels. ‘Eight Bites’ shows a large woman following her sisters in undergoing bariatric surgery to curb her appetite: ‘They ordered large meals and then said, “I couldn’t possibly”… that bashful lie had been converted into truth vis-à-vis a medical procedure.

Running for her life

Françoise Frenkel was a Polish Jew, who adored books and spent much of her early life studying and working in Paris. Her passion for French literature led her to open the first French bookshop in Berlin in 1921, a resounding success in spite of the predominantly Francophobe sentiment in Germany following the first world war. She happily reminisces over its ‘curiously mixed clientele’: ‘Famous artists, celebrities and well-heeled women pore over the fashion magazines, speaking in hushed tones so as not to disturb the philosopher buried in his Pascal.’ It soon became a place of readings, lectures, plays and parties and an essential stop for any French writer passing through Berlin. The problems began in 1935, escalating from laborious new customs paperwork to Frenkel being summoned by the Gestapo, although the bookshop was spared the atrocity of Kristallnacht as it was a foreign business.

A choice of first novels | 19 October 2017

Black Rock White City (Melville House, £16.99) is ostensibly about a spate of sinister graffiti in a Melbourne hospital. ‘The Trojan Flea’ is scrawled across X-ray screens; ‘I am so full of your death I can now only breathe your rot’ on a stairwell; and, on a dead body, ‘cut into the flesh with a scalpel, from throat to navel, is the word INSPIRATION’. A.S. Patric grabs his reader’s attention with the riddle of ‘Dr Graffito’s’ identity, while a more subtle mystery unfurls alongside. Jovan, the hospital cleaner — whose job it is to remove the offensive graffiti — has come to Melbourne from Sarajevo, where he was a teacher and ‘used to wake in the mornings with poetry emerging in rhapsodies’. Now he no longer writes down his poems and makes little effort with his spoken English: ‘Everything that he has been serious about, all his work, was left behind with his native tongue.

Mysticism and metamorphosis

‘I frankly hate Descartes,’ states a character in Nicole Krauss’s new novel, Forest Dark: ‘The more he talks about following a straight line out of the forest, the more appealing it sounds to me to get lost in that forest …’ Like the author, this character is called Nicole, lives in Brooklyn, and is a writer and mother. Struggling with her work and her marriage, life is indeed a ‘forest dark’, and we follow her through the tangle of it. Interleaved with Nicole’s half of the novel, is Jules Epstein’s — a bombastic, wealthy, older New York Jew, who we meet when the ‘strong weather of being Epstein no longer gusted outward’ but has turned inward as, Lear-like, he sheds himself of worldly possessions in an effort to gain spiritual understanding.

The dark side of creativity

In Eureka, Anthony Quinn gives us all the enjoyable froth we could hope for in a novel about making a film in the 1960s — champagne, drugs, threesomes, gangsters, a Silver Cloud Rolls-Royce, hula-hooping girls and Pucci scarves flung over smears of vomit. Underneath, however, lies an intellectual question. The film is an adaptation of Henry James’s ‘The Figure in the Carpet’, a story about obsessively trying to understand the secret key that unlocks an author’s work: ‘The idea that governs the whole and gives it meaning… a string that my pearls were strung on.’ (Ought I admit that I enjoyed Quinn’s saucy 1960s screenplay, spliced between chapters of the novel, more than James’s original?) Reiner Werther Kloss, Quinn’s German film director, argues that its ‘tension lies not in the actual secret but in its effect upon the three main characters.

Dark secrets of village life

Jon McGregor’s first novel, If Nobody Speaks of Remarkable Things, a surprise inclusion on the 2002 Booker longlist that went on to win the Somerset Maugham and Betty Task Awards, captured 24 hours in the life of a suburban street. Fifteen years later, his fourth novel, Reservoir 13, has a similarly concentrated focus, but this time on a village in the north of England and the lens remains open for 13 years. McGregor’s portrait of a village is an astonishing feat. He gives us the nature surrounding and intrinsic to the place in prose both precise and poetic (‘In the beech wood the foxes gave birth, earthed down in the dark and wet with pain, the blind cubs pressing against their mothers for warmth’) and conjures an impressive range of 50-odd characters, slipping easily among their voices and thoughts, each one alive with complexity.

Intimations of immortality

A preoccupation with death is felt from the start of Margaret Drabble’s new novel, which opens with Francesca Stubbs, in her seventies, considering whether her last words will be ‘you bloody old fool’ or ‘you fucking idiot’. Fran is central to the web of characters that populate the book, linked by varying degrees of friendship and kinship, but tied more firmly together by the approach of death. Drabble squares up to old age with pragmatism: she shows us its terrible physical pain, loneliness and expense, but lightens what could threaten to be a grim read with observational humour, delighting in her characters’ eccentric pleasures. Fran, for instance, has a peculiar, stubborn fondness for ‘the familiar and unfailing space’ of Premier Inns, while her friend Jo enjoys a Tuesday evening absinthe with a fellow ageing academic; and Fran’s bed-ridden ex-husband Claude times his evening half-hour of Maria Callas to coincide with a self-prescribed antidepressant, which ‘elevates him, briefly but unfailingly, to a sublime state’.

Words on the street

A white van pulls up outside St Giles in the Fields, an imposing 18th century church in central London, around the corner from Tottenham Court Road station, for a couple of hours every Saturday afternoon. St Giles is known as ‘The Poets’ Church’ because it has memorials to Andrew Marvell and George Chapman, but this humble van makes the nickname more fitting. It’s a library. To be homeless is to have no fixed address, which means you can’t borrow books from a public library — but it doesn’t mean you’ve no desire to read. Quaker Homeless Action set up this mobile library in 1999, making runs into London twice a week and lending books to more than a thousand homeless people a year. Borrowers only have to give a first name, which isn’t always their real name, and may take out two books for up to two weeks, although only around a third are actually returned.

London’s lost rivers

I found my first of London’s many lost rivers when I walked across Holborn Viaduct, looked down at the sweep of Farringdon Road below and realised that it had to be the path of a river, not just a road. Indeed, I was soon to learn that the river Fleet runs directly beneath, coursing down to meet the Thames by Blackfriars Bridge. The Fleet is perhaps the most famous of London’s lost rivers; it was once large enough for boats to navigate it, and an anchor has been discovered as far up as Kentish Town. As for the lower stretch of the Fleet, its earliest recorded cargo were the stones that built the old St Paul’s Cathedral in the early 12th century, but by the 18th century it had degenerated into the Fleet Ditch, so filthy that Alexander Pope, in his poem The Dunciad, wrote that children swam ‘where Fleet-ditch, with disemboguing streams/ Rolls the large tribute of dead dogs to Thames.

The power of music and storytelling

Madeleine Thien’s third novel, recently long-listed for the Man Booker Prize, begins in Vancouver with Marie, who, like the author, is the daughter of Chinese immigrants to Canada. Marie tells us that her father committed suicide in 1989 and that, soon after, the 19-year-old Ai-ming — whose father knew Marie’s father — came to stay, having escaped China in the aftermath of Tiananmen. Ai-ming is drawn to a notebook that has been found among Marie’s father’s surviving paperwork: a handwritten copy of part of a mysterious Book of Records. Marie persuades Ai-ming to tell her the story. Her tale transpires to be not the content of that book, but the crucial role it has played in the lives of their families. She begins in 1949 — when Wen, a poet, wins the heart of Swirl, a singer, by sending her chapter-by-chapter transcriptions of the book — and ends in Tiananmen 50 years later.

Holiday reading

Holidays are a welcome chance to lose ourselves between the covers of a book, especially for those of us who struggle to find time to read amid the assorted tyrannies of daily life. So the book that ends up in your suitcase had better be a worthy companion. The disorganised need not fear: you could do worse than grabbing a paperback at the airport. A holiday is a great time to read an easy new bestseller, not least because your friends are likely to have read it, so you can all discuss it over the third bottle of rosé during a long lunch. Just one note of caution: time tells. Many current bestsellers will have all but disappeared within a few years, whereas a classic endures for a reason. So to avoid your reading being too forgettable, for each new book, take an old one, too.

When novels kill

[audioplayer src="http://feeds.soundcloud.com/stream/261189280-the-spectator-podcast-the-wrong-right.mp3" title="Emily Rhodes and Lara Prendergast discuss the danger of books" startat=1095] Listen [/audioplayer] Who can forget the terrible climax of Howards End, when Leonard Bast is killed by a deluge of books? Death by books holds a horrible irony for poor Bast, as he had thought they were his salvation, seeking to escape ‘the abyss’ of poverty by reading Ruskin in the evening and trying to impress the middle-class Schlegel sisters by listing his favourite titles. Try as he might, he can only fail, as E.M. Forster shows books to be extremely treacherous: they don’t save Leonard Bast, they kill him. The power of books is all too often lauded as a healing force, rather than something potentially lethal.

A mix of myths

With ‘both arms stretched out like a starfish, her long hair floating like seaweed at the sides of her body’, Kitty Finch swam naked into view in Deborah Levy’s Booker-shortlisted Swimming Home. Similarly, in Hot Milk, Sofia Papastergiadis loves to swim —as, indeed, does Levy herself. Only, whereas Kitty swims up and down the gravelike plot of a villa’s swimming pool, Sofia prefers the open expanse of the sea. She swims off the coast of Spain, in Almeria, where she is helping her mother find treatment for the periodic ‘mysterious’ paralysis of her legs. Caring for her mother means that she has given up pursuing a doctorate in anthropology, despite her first-class degree. She reflects that her ‘mother tongue’ is ‘the language of symptoms and side effects’ and recalls, soon after her father left, climbing into bed with her mother — who felt as though she was ‘folding her growing child back into her womb in the way an aeroplane folds its wheels back into its body after take-off’.

Who steals books?

[audioplayer src="http://rss.acast.com/viewfrom22/donaldtrumpsangryamerica/media.mp3" title="Emily Rhodes talks to Isabel Hardman about book thieves" startat=1139] Listen [/audioplayer] Notoriously, during the riots in London five years ago, Waterstones was the only high-street shop that wasn’t looted. But that depressing lack of book-pinching belied a thriving -tendency. Think of a bookshop and you think of a musty, hushed spot where people browse and whisper. In fact, it is thick with thieves. As a bookseller, I’ve encountered many a thief over the years. Most dramatic was the Mr Men thief, who used to steal a whole shelf of these tiny children’s books every couple of months. One afternoon I emerged from the stockroom to find the shelf newly emptied.

The library in the Jungle

Sikander and I are sitting at a small table in a small shed. The shed is filled floor-to-ceiling with books: chick lit, thrillers and a neat set of Agatha Christies line the shelves, alongside a large atlas, a few dictionaries and grammars, and the thin green spines of children’s learning-to-read books. More books spill out of boxes stacked in the corner, and pens, notepads, bags of clothes, a globe, a guitar and a game of Battleships are useful flotsam. We are in Jungle Books, a library which British volunteer Mary Jones set up a few weeks ago in the Calais migrant camp known as ‘The Jungle’. Sikander, a lean Afghan, tells me that the last book he took out was about starting a small business. He tells me about the restaurant he has set up in the camp and the new one he is planning.

Idolising Ida

Jonathan Galassi is an American publisher, poet and translator. In his debut novel Muse, his passion for the ‘good old days’ of the publishing industry is palpable: a time when books were books, with glued or even sewn bindings, cloth or paper covers, with beautiful or not-so-beautiful jackets and a musty, dusty, wonderful smell … their contents, the magic words, their poetry and prose, were liquor, perfume, sex, and glory to their devotees. The halcyon days of print publishing were not, in fact, so very long ago, with the first e-reader going on sale only in 2004 and Amazon’s Kindle in 2007; it is astonishing that the digital revolution has taken only a decade to change the publishing landscape dramatically enough to inspire a novel so thick with nostalgia.

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