In his prefatory essay to A House of Children (1941), Joyce Cary (http://en.wikipedia.org/wiki/Joyce_Cary) explained that he wanted to write ‘a book full of that clarity, the large skies, and wide sea views, which belong to the vision of my childhood’. In the autobiographical novel that followed, the story of a family of cousins, children of varying ages […]
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From the acclaimed author of Cambridge (1991) comes an ambitious, formally inventive, and intensely moving evocation of the scattered offspring of Africa. It begins in a year of failing crops and desperate foolishness, which forces a father to sell his three children into slavery. Employing a brilliant range of voices and narrative techniques, Caryl Phillips
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This is a very unconventional book — it’s nearly all dialogue, and the characters all seem to speak the same way, even the children. Sometimes what they say is nonsensical, and other times they come out with brilliant gems. The acerbic Compton-Burnett (http://en.wikipedia.org/wiki/Ivy_Compton-Burnett), who wrote 19 largely similar books, is not to everyone’s taste, although
Ken is a scientist, with a scientist’s dispassionate eye for the material world. He reviews his life from the difficult 1930s, through the slaughter of World War I, back to an idyllic boyhood in the Highlands. When the mature man finally reaches the source of the river that has haunted his imagination for so many
Hortense Joseph arrives in London from Jamaica in 1948 with her life in her suitcase, her heart broken, her resolve intact. Her husband, Gilbert Joseph, returns from the war expecting to be received as a hero, but finds his status as a black man in Britain to be second class. His white landlady, Queenie, raised
On the Black Hill (1982) is an elegantly written tale of identical twin brothers who grow up on a farm in rural Wales and never leave home. They till the rough soil and sleep in the same bed, touched only occasionally by the advances of the 20th century. In depicting the lives of Benjamin and
‘My mother began me one evening in 1968 on a table in the café of the town’s only cinema. One short flight of stairs away, up behind the balding red velvet of the Balcony curtain, the usherette was yawning, dandling her off torch, leaning on her elbow above the rustlings and tonguings of the back
Since the success of Brazzaville Beach (1990), William Boyd (http://www.williamboyd.co.uk/ and http://en.wikipedia.org/wiki/William_Boyd_(writer) has enjoyed a reputation as a male novelist who understands women and writes believably from a female viewpoint. Given that women hold up rather more than half the market as novel-buyers, the reputation has undoubtedly proved useful. With Restless (2006), he enters the female-friendly territory
In Michael Frayn’s (http://literature.britishcouncil.org/michael-frayn and http://en.wikipedia.org/wiki/Michael_Frayn) novel Spies (2002) an old man returns to the scene of his seemingly ordinary suburban childhood. Stephen Wheatley is unsure of what he is seeking but, as he walks once-familiar streets he hasn’t seen in 50 years, he unfolds a story of childish games colliding cruelly with adult realities. It is
