Category Archives: Fiction

As a Black Lord of the Rings fan, I felt left out of fantasy worlds. So I created my own | Namina Forna

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Author Namina Forna loved JRR Tolkien and CS Lewis’ books as a child, but saw little that resembled the magic and rich mythology she saw in Africa

When I was a child, I was what you would call a JRR Tolkien fangirl. I read The Lord of the Rings over and over. I traipsed around the countryside, imagining it was Middle-earth. With just a flight of imagination, I could be snug in the Shire, exploring the mines of Moria, or even flitting through the woods of Lothlórien.

When the first Lord of the Rings movie was finally released, I was 14 and so excited to see it. But immediately, I noticed something distressing: no one on screen looked like me. The darkest characters on screen, the orcs, were all male. Even as a monster, it seemed, there was no place for people who looked like me in Tolkien’s world.

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‘You can smell the sweat and hair gel’: the best nightclub scenes from culture

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Writers and artists including Róisín Murphy, Tiffany Calver and Sigala on the art that transports them to the dancefloor during lockdown

There have been many notable nightclubs in film history. The Blue Angel in the Marlene Dietrich movie; the Copacabana in Goodfellas, accessible to privileged wiseguys via the kitchen; the Slow Club in Blue Velvet, with the emotionally damaged star turn Isabella Rossellini singing the song of the same name.

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Unseen work by Proust announced as ‘thunderclap’ by French publisher

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The Seventy-Five Pages, out next month, contains germinal versions of episodes developed in In Search of Lost Time and opens ‘the primitive Proustian crypt’

For everyone who decided to bite the madeleine and read all 3,000-odd pages of Marcel Proust’s In Search of Lost Time during lockdown, what’s one more book? French publisher Gallimard has announced that it will be releasing a never-before-published work by the great French writer: Les Soixante-quinze feuillets, or The Seventy-Five Pages, on 18 March.

The texts in The Seventy-Five Pages were written in 1908, around the time Proust began working on In Search of Lost Time, which was published between 1913 and 1927. The papers were part of a collection of documents held by the late publisher Bernard de Fallois, who died in 2018. During his lifetime, De Fallois oversaw the posthumous publication of several Proust works including Jean Santeuil, Proust’s abandoned first novel from the 1890s.

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The 20 best Frankenstein films – ranked!

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With Emma Stone lined up to play a female version of the monster in Poor Things, we rate a century’s worth of cinema inspired by Shelley’s novel

Doctor Stein injects “DNA solution” into an African American multiple amputee (he is a Vietnam veteran), but there is an “RNA problem” and things go horribly wrong. This Blaxploitation attempt to do for Frankenstein what Blacula did for Dracula edges into this list only because its sheer ineptitude entertained me more than competently filmed snoozefests such as Victor Frankenstein and I, Frankenstein.

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Ethan Hawke: ‘It’s just a petrifying time to speak about male sexuality’

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The Oscar-nominated actor on his new novel set during a production of Henry IV, dealing with bad reviews and art’s role in examining all human behaviour

Ethan Hawke is an actor, writer and director, star of the films Dead Poets Society, Training Day and Boyhood. He has been nominated for Academy Awards for his acting, and for his writing on Before Sunset and Before Midnight. Hawke describes theatre as his first love and has featured in a number of plays by Sam Shepard, as well as in productions of work by Shakespeare, Chekhov, and his own second cousin twice-removed, Tennessee Williams.

Hawke’s first novel, The Hottest State, was published in 1996. His second, Ash Wednesday, came out in 2002. Now, with A Bright Ray of Darkness, Hawke brings us a novel that is structured around a stage production of Henry IV, Part 1. The book’s narrator, William Harding, is a hard-drinking film star who seeks to overcome a period of personal turmoil by throwing himself into his role as Henry Percy.

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Vampires, Muppets and prequels: The Great Gatsby’s new life out of copyright

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The Great Gatsby is out of US copyright and fans of Fitzgerald’s novel have rushed to pay tribute with new books and fanfiction. What does it mean for the novel’s legacy?

On 2 January this year, the day after The Great Gatsby entered the US public domain, The Great Gatsby Undead was self-published on Amazon. Like F Scott Fitzgerald’s hallowed novel, it is narrated by Nick Carraway, but in this version, according to the promotional blurb, “Gatsby doesn’t seem to eat anything, and has an aversion to silver, garlic, and the sun”. Gatsby, you see, is a vampire.

More than 25m copies of The Great Gatsby have been sold since it was first published in 1925, and the expiration of copyright, 95 years after it was released, opens the door to anything and everything fans might want to do with it. The start of the year also brought the release of The Gay Gatsby (“Everyone’s got something to hide, but the secrets come out at Gaylord Gatsby’s parties – the gayest affairs West Egg ever had…”), and Jay the Great, a “modern retelling” of the story. On the fan fiction site Archive of Our Own (AO3), someone has uploaded a version of the novel that search-and-replaces Gatsby with Gritty, the name of the furry mascot for the Philadelphia Flyers ice hockey team. As one Twitter wit put it: “The Great Gatsby’s out of copyright? Sounds like we’ve been given the green light.”

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‘I’m flabbergasted’: Monique Roffey on women, whiteness and winning the Costa

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The Mermaid of Black Conch’s author explains why she expected ‘a quiet life’ for the formally daring, magical realist novel that has been declared book of the year

After two decades of splashing around in the shallows of success, Monique Roffey was taking no chances with The Mermaid of Black Conch. The novel, which won the Costa book of the year award on Tuesday, is written in a Creole English and uses a patchwork of forms, from poetry to journal entries and an omniscient narrator, and “employs magical realism to the max”. Even its title was against it, she realised. “You’re either going to read a novel about a mermaid or you aren’t.”

Any one of these, she says, would scare away most publishers. So when one, the independent Peepal Tree Press, did bite, she launched a crowdfunder to enable her to hire her own publicist. It’s a mark of the esteem in which the 55-year-old author and university lecturer is held by those familiar with her work that 116 people chipped in, raising £4,500 within a month. Then, two weeks before the novel was due to be published, the UK went into lockdown, shutting bookshops and forcing the cancellation of a tour that was particularly important for a writer who has always swum between two continents and two cultures.

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I enjoyed researching the bloody history of childbirth – then I had a baby | Anna North

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My new novel is about a midwife’s daughter in the old American west. The peril pregnant women underwent, then and now, became all too vivid once I became a parent

Childbirth in the 19th century was a dangerous affair. Women routinely came down with puerperal fever, an infection of the uterus that could lead to sepsis and death. Others suffered a postpartum haemorrhage: heavy bleeding that, if not stopped, could also claim their lives. Some experienced eclampsia, a condition in which skyrocketing blood pressure could cause fatal seizures. In 1900, six to nine women died for every 1,000 births, more than 30 times the rate today.

I learned these facts when I started researching my latest novel, Outlawed, an alternate history following a midwife’s daughter on the run across the American west in 1894. I needed a working understanding of obstetrics and gynaecology of the era to give it verisimilitude. So I read about the history of the C-section, which, at least in Europe, was generally a fatal procedure until about the 1880s, though there are reports of women surviving it as early as the second century CE. I learned about the discovery of egg cells, which was the subject of heated debate in the 1670s between the Dutch doctor Reinier de Graaf (who demonstrated their existence by dissecting rabbits shortly after mating) and his rival Jan Swammerdam (who liked to travel with a human uterus and other “items of genital anatomy”). I studied the composition of early baby formula, which, in 16th and 17th-century Europe, often consisted of bread soaked in milk, fed to infants from a “pap boat” that was unfortunately hard to clean and prone to accumulating bacteria.

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The Capote Tapes: inside the scandal ignited by Truman’s explosive final novel

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He partied with high society America but caused outrage when he spilled their secrets. Ebs Burnough talks us through his new film about Answered Prayers – the ‘smart, salacious’ novel Capote never finished

When Truman Capote died in 1984, he left the remains of a novel he had been hatching for nearly two decades, and talking about for almost as long. Answered Prayers, the story of a budding writer screwing his way through polite society, was intended to be Capote’s most explosive achievement. He likened it to a deadly weapon. “There’s the handle, the trigger, the barrel, and, finally, the bullet,” he told People magazine. “And when that bullet is fired from the gun, it’s going to come out with a speed and power like you’ve never seen – wham!” Having bragged about the book for years, all he had to do now was write it.

A contract was signed in 1966, but advance chapters published in Esquire magazine nine years later proved to be far below the standard of his defining successes, Breakfast at Tiffany’s and the “non-fiction novel” In Cold Blood. There was a cost to his social reputation as well as his literary one. As soon as the socialites and wealthy wives with whom he had mingled happily for years – including Slim Keith, Babe Paley and Gloria Vanderbilt, whom he called his “swans” – saw how casually he had spilled their most intimate secrets, those friendships were dead. Capote hadn’t bitten the hand that fed him. He’d gnawed it off at the wrist.

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Bridgerton author Julia Quinn: ‘I’ve been dinged by the accuracy police – but it’s fantasy!’

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Her ‘hot and crazy’ novels about feisty women bedding rakish aristocrats have become a Netflix sensation. The writer talks about literary snobs, colour-conscious casting and the curse of Jane Austen

“People look down on romance novels,” says Julia Quinn. “We’re the ugly stepchild of the publishing industry – even though romance novels make so much money for publishers that they’re able to take chances on poetry, literary fiction and other things that don’t really make money.”

This is why Quinn never dreamed that any of her novels – Regency romances in which smart, witty women fall for handsome titled men – would ever make the leap to TV. She was happy with her regular slot at the top of the bestseller lists, if a little irked at the way the genre is looked down on by more literary types. “I dream big, I do,” says Quinn, speaking from her home in Seattle. “But nobody had ever done it, nobody had ever shown any signs of wanting to. And not just my books, but the genre as a whole. If somebody wanted to do a period piece, they wanted to do Jane Austen again.”

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Nick Kent: ‘I was in the right place at the right time, on the wrong drugs’

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The rock critic who revived British music writing at the NME in the 70s is back with his first novel – a caustic tale of rock megalomania

Nick Kent, who is as close as British music journalism ever came to producing a legend, finally stopped writing about rock in 2007. “There was really nothing around that sparked my imagination,” he tells me. “There was no mystery, and rock’n’roll needs mystery.”

So ended a singular odyssey that had begun 35 years earlier, in 1972, when Kent joined a then struggling NME and, within a year or two, had helped push its weekly readership to near the 300,000 mark. Back then, a tall, stick-thin fop in leather trousers, matching biker jacket, a dangling earring and eyeliner, Kent was as sartorially stylish and – to borrow one of his own phrases – as “elegantly wasted” as the dissolute rock stars he profiled. And he walked it like he talked it, hanging out with the Rolling Stones and Led Zeppelin, befriending Iggy Pop, stepping out with Chrissie Hynde (briefly a fellow NME writer) and even playing guitar in a very early incarnation of the Sex Pistols.

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Jenni Fagan: ‘I understand crisis. I grew up in a very, very extreme way’

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From a childhood in care to dazzling readers with her debut The Panopticon, Fagan talks about writing her third novel, channelling rage, and why now is a pivotal moment for us all

For all that she was laid low early in the pandemic, and then spent months as a single parent trying to home-school her nine-year-old son, the last year has been far from a write-off for Jenni Fagan. Her third novel is about to be published, she completed her PhD. And on the day she speaks to me from her Edinburgh home, she is hours away from finishing a memoir of her life up until the age of 16.

For most people, that would amount to a very thin book, but not for Fagan. As a child growing up in the Scottish care system, those first 16 years involved 29 different placements, under four different names. The only thing she knows about her birth was that it took place in a Victorian psychiatric hospital in 1977. Perhaps, she muses, it has helped her to cope better than most with the events of the last months. “You know, I kind of understand crisis. I grew up in a very, very extreme way, and the idea that bad things happen to other people was never my reality. I always knew they happen to you. And sometimes they happen over and over.”

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Twisted brilliance: Patricia Highsmith at 100

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Forbidden desires, strange obsessions and a singular talent for suspense... Carmen Maria Machado on the dark allure of the writer behind Ripley

There has always been something fundamentally difficult about Patricia Highsmith. And not difficult in the way that most people mean it: ironic, quirky, feminist (“Well-behaved women rarely make history”, and so on). I mean truly, legitimately difficult; a well of darkness with no discernible bottom.

Which is not to say that she wasn’t, in her own way, endearing. She was, after all, a genius, a bona fide eccentric. She loved animals, particularly snails, which she kept by the hundred as pets and took to parties clinging to a leaf of lettuce in her handbag. Writer and critic Terry Castle describes how she once “smuggled her cherished pet snails through French customs by hiding six or eight of them under each bosom”. She was famous for her wit and wicked sense of humour, and she wrote compellingly of loneliness and empathetically about disempowered housewives and children.

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George Saunders: ‘These trenches we’re in are so deep’

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The Booker-winning author on what Russian short stories can teach us, late-life realisations and why he doesn’t like social media

George Saunders was born in Texas in 1958 and raised in Illinois. Before his first novel, Lincoln in the Bardo, won the 2017 Booker prize, he was best known as a writer of short stories, publishing four collections since 1996 and winning a slew of awards. In 2006, he was awarded both a Guggenheim and a MacArthur fellowship. His latest book, A Swim in a Pond in the Rain, draws on two decades of teaching a creative writing class on the Russian short story in translation at Syracuse University, where he is a professor. Saunders lives in California but was in the middle of a snowstorm in upstate New York when this interview took place via Zoom.

What prompted you to turn your creative writing class into a book?
I was on the road for a long time with Lincoln in the Bardo. When I came back to teaching, I just thought, man, after 20 years of this, I really know a lot about these stories. There was also that late-life realisation that if I go, all that knowledge goes too. I thought it would be just a matter of typing up the notes, but of course it turned out to be a lot more.

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Kiley Reid: ‘The premise that literary fiction has to be a drag is so silly’

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The novelist’s hit debut, a witty spin on race, feminism and sex based on her time as a nanny in New York, has even won fans among her former employers…

This time last year, Kiley Reid was a tantalising rumour, the truth of which was known only to her publishers and to the film company that had optioned her debut novel two years before it was ready to see the light of day. When Such a Fun Age was published – on New Year’s Eve in the US and a week later in the UK – the rumour checked out: here was a smart comedy of manners, which treated interracial relationships of the early 21st century with the sort of needling wit that Jane Austen had applied to class 200 years earlier.

It was the start of a year in which Reid seems to have been travelling in the opposite direction to the rest of the world. By the time the Covid pandemic shut everything down, she had introduced the novel to 19 cities, including London. Reese Witherspoon had picked it for her book club; in July, it was longlisted for the Booker prize.

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Feed your soul: the 31-day literary diet for January

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Looking for a more positive new year resolution? From a Shirley Jackson short story to Chimamanda Ngozi Adichie’s 30-minute Ted talk, nourish your mind with our one-a-day selection of literary treats

Our revels now are ended and January looms, with its exhortations to get fit, lose weight, dry out. So here’s a radical alternative diet: instead of depriving yourself, how about making it a month of treats – but feeding your brain instead of your face? Our one-a-day calendar will take you into magical realms of poetry and prose, argument and imagination. It will transport you to some places you always wanted to explore, but couldn’t find the time, and to others you never knew existed, where you will find strange and wonderful things.

In fact, this calendar very nearly didn’t happen because I kept disappearing down rabbit-holes so deep and fascinating that, had I been the white rabbit himself, someone would have had to drag me out by the ears. Some entries – such as John Huston’s film of Malcolm Lowry’s mescal-fuelled modernist masterpiece Under the Volcano (20 January) – come with the authority of a full year’s leisurely burrowing (it is among the BFI’s list of 100 great films to watch on Netflix and Amazon Prime, which was a comfort and joy through lockdown, and is handily still being updated).

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John le Carré obituary

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Writer whose spy novels chronicle how people’s lives play out in the corrupt setting of the cold war era and beyond

John le Carré, who has died aged 89 of pneumonia, raised the spy novel to a new level of seriousness and respect.

He was in his late 20s when he began to write fiction – in longhand, in small red pocket notebooks, on his daily train journey between his home in Buckinghamshire and his day job with MI5, the counter-intelligence service, in London. After the publication of two neatly crafted novels, Call for the Dead (1961) and A Murder of Quality (1962), which received measured reviews and modest sales, he hit the big time with The Spy Who Came in from the Cold (1963).

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Alex Wheatle: ‘I have nightmarish moments where my past comes back and hits me’

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The prize-winning author’s life is now an episode of Steve McQueen’s hit series Small Axe. He talks about working on the project and his latest novel, based on a Jamaican slave uprising

Amid the brunchtime clatter of a busy south London cafe, Alex Wheatle is talking about how, lately, he has been considering 1970s pop culture and the way it has shaped and warped his perception of self. “I grew up with Tarzan on TV; Tarzan beating up all the black guys he came across and being able to talk to the animals while the black people couldn’t,” he says. “And I hate to admit it, but when I was 10 or 11, I actually cheered for Tarzan when he was fighting with a so-called ‘savage’. It was only later that I thought: ‘I think I’ve got that wrong.’”

In many ways, Wheatle’s 20-year writing career has been about correcting that wrong. Because if the focus of the author’s extraordinary early years was on mistruths around his heritage – about its history, its value, its implicit inferiority to a loin-clothed white saviour – then the intervening period has been all about creating the depictions of nuanced black heroism he was denied as a child.

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