Tag: novels

Books: A Stranger in Corfu, A Novel by Alex Preston, 2026

A spy book set in Greece, Corfu or to be more precise an island in the Ionian sea called Vidos, reimagined by the author as Spyland. It is a place inhabited by failed former spies who are parked there as an embarrassment for MI6 – yes, it is reminiscent of Slow Horses by Mick Herron.

Despite the interesting premise – the story of double agents working towards the failure of MI6 missions in the world, the collapse of the Western ideology and ironically – the triumph of the communist ideal, the novel leaves an aftertaste of dissatisfaction. Somehow, we suspected from the very start that Oxford-educated aristocracy and top KGB offspring were conspiring to dominate the world together…

There are some wide-gaping plot holes, some illogical moves, a lot of fluff “events” or “fillers” not contributing to the story’s integrity. There is more psychology than a reasonably entertaining spy novel can possibly sustain. There are well-crafted but quite long descriptions of physical action – a lot of swimming, running, sightseeing, or eating. The author deserves a credit though for communicating skillfully the beauty of the Ionian sea, and the bliss of a long morning swim.

The most interesting character, Nina is somewhat underdeveloped – and maybe, that is what makes her interesting. The rest of the characters are excessively “explained” – especially Benedict, who is supposed to be the most dramatic of them all.

Overall, as far as genre fiction goes, this one deserves a 6 out of 10. And yes, quality genre fiction is hard to find.

Books: Children of Wolves, A Novel by Lawrence Osborne, 2026

Very disappointed by the latest novel of Lawrence Osborne, an author I have been recommending left and right in the last five years. I can’t believe that after Hunters in the Dark, The Forgiven, and Beautiful Animals (the works that I rate highest among his oeuvre) he penned this half-baked story.

The plot of the novel, the mechanism that makes all its other parts tick is very week, to the point of not making much sense. What would you think of a terrorist cell of four who select one of them to commit the murder of their target, but then all of them have to be present at the glamorous event where the murder is supposed to happen without any of them having a role in the murder – just to have to plan their escapes?! Why would they need to be at this event in the first place?! Just to hang out and then escape?!

Things like that, as well as other non-consequential happenings, make you think what is mandatory for a good novel – it can’t offer just cool settings, ethnographic details like Turkish cuisine and drinks, descriptions of exotic Istanbul topoi, clothing, and expensive hotels…The characters are vague, their motives banal, they can be reduced just to their physical descriptions and some random behavior that does not engage the reader. The plot cannot withstand a very basic logical questioning.

What happened? It seemed like the author had a contract with the publisher and had to churn up something in a hurry….What a pity.

Books: Look What You Made Me Do, A Novel by John Lanchester

It is a pleasure read and it gives you the feeling it was written for pleasure by John Lanchester. Inspires me to read more of his writing. Maybe, next one on my to read list will be his most famous novel Capital.

The plot is engaging as all revenge stories are. Closer to the end, it becomes predictable and a bit repetitive. Not all plot twists need to be explained as the narrator Kate does…But the plot meanderings are not the main source of the pleasure of reading. It is the language – incisive and witty. Lanchester has the gift of capturing and representing truthfully the class and age of his characters by rendering their conversations – intellectual discourse, dinner banter, intimate dialogue. He makes you reflect on the nature of willful or just fashionable socializing, of courtship and friendship, of passion and jealousy – through language. Kate, one of the two main narrators in the novel gets plunged into misery by witnessing her most intimate marital discourse becoming the dialogue of a popular TV show. Phoebe – the second narrator, pleases most with her cynical and blunt descriptions of her manipulative and deeply unhappy mother Sarah.

The other feature of this novel that contributes greatly to the pleasure of reading it is the deeply amoral nature of its characters (but they are all super intelligent). There are no “nice” people in this book (except for probably Phoebe’s partner). Thus the book, never gets didactic. It just follows the domino effect of people’s egotistical behavior – the effect of “look what YOU made me do”. Everybody is “innocent” as the ending suggests. It is other people that make us behave badly and Lanchester’s point is that this bad behavior is quite enjoyable. The characters just can’t help it.

The description of the Oxford students’ love triangle was great. The seventies atmosphere, the college culture, the excitement of complex and playful but in the end life-defining relationships – all captured so well! Makes you realize how the act of “falling in love” breakes all the rules of decency and has nothing to do with morality or generosity of spirit.

Books: The Calamity Club, A Novel by Kathryn Stockett, 2026

It is a very hard read – too long and too “all-over-the-place.” I doubt many readers who begin it can endure to the end (at least without skipping pages.) Stockett wanted to touch on so many subjects of “woke” nature that it became a book about everything. The story of an orphan trapped in an unjust orphanage system, a single female struggling with financial hardship, a gay husband and his family wishing to “cure” him, a goodhearted wealthy alcoholic, a single mother sent to jail by a racist society, etc. etc.

All of this is told from an overtly feminist perspective, despite being set in 1930s Mississippi. The novel finally descends into implausibility when its three central female characters establish and successfully run a brothel in Oxford, Mississippi, as a way of surviving the economic devastation of the Great Depression. As a plot device—and as a statement of feminist empowerment, it sounds ludicrous.

There is not one original idea in this book – everything is predictable because it is premised on an ideological matrix – the plight of women and gays in the 20th century American South. Nothing to discover here, nothing we did not already know. The characters are sentimentalized and well-designed to fit the scheme of historical critique intended by Stockett.

Books: More Than Enough, A Novel by Anna Quindlen, 2026

Anna Quindlen is an achiever in fiction writing. She knows the rules and she is so industrious, so detail oriented, so sensitive to women issues, mood swings, and life’s surprises that you can’t really complain about the quality of her writing. And — still you can! This book attempts to cover absolutely everything—and does so formulaically. It feels as though Quindlen gathered a checklist of every modern female concern, striving to address each one without ever achieving depth or finding an original angle. While she occasionally captures a sharp detail or mirrors a familiar feeling perfectly, the overall narrative ultimately leaves an aftertaste of banality and dissatisfaction.

This clutter is the inevitable result of cramming a dizzying array of subplots into a single novel:

  • Mother-daughter friction
  • Deep father-daughter affection
  • Cross-marital betrayal
  • Late-in-life discovery of a biological father
  • Dealing with a parent’s dementia
  • A sister’s tight bond with her gay brother
  • Watching a fabulous best friend die of cancer
  • Chronic parental self-doubt
  • The quiet grief of a childless family
  • Desperation to conceive
  • A child coping with maternal loss

While Quindlen meticulously anchors these subtopics to her protagonist, the execution feels synthetic. In the end, it feels like she was busy checking boxes rather than writing about life itself.

Books: Contrapposto, A Novel by Dave Eggers, 2026

Contrapposto is another strong novel by Dave Eggers, whose The Circle demonstrated his talent for satirizing the cultural tendencies of the internet age: the erosion of privacy, the oppressive culture of technology companies, and the growing influence of social networks on everyday life.

In Contrapposto (the title refers to the classical artistic pose most famously exemplified by Michelangelo’s David), Eggers turns his attention to the contemporary art world. His target is the dominance of postmodern conceptual art, where technical skill and beauty have increasingly been displaced by interpretation, theory, and narrative.

The novel’s finest pages are those depicting the destructive role of university art education. Eggers’s satirical portrait of Cricket’s art class, where the work of the only genuinely gifted student is mercilessly criticized for being representational, is both hilarious and convincing. Equally entertaining are the scenes set in the gallery during Cricket’s internship and Eggers’s portrayal of the “business” of conceptual art through Kyle, a wildly successful artist who hires technically skilled painters to execute his ideas while he serves merely as the project’s facilitator. In this world, “interpretation” becomes the art per se, while beauty in the classical sense of the word and art’s ability to reveal the mystery of reality have become irrelevant. Some of the university scenes are reminiscent of Zadie Smith’s On Beauty, particularly its critique of the contemporary teaching practices in the arts and humanities.

The novel follows Cricket, a talented painter, a someone “who can draw” from childhood to old age. Through him Eggers tries to explore what becomes of an artist unwilling to SELL? At best, he works for figures like Kyle, paints copies of classical masterpieces, or teaches others how to draw. Eggers suggests that there is dignity and contentment in such a life. Recreating beauty and passing on artistic skill are meaningful alternatives to commercial success.

Cricket’s trajectory is contrasted with that of Olympia, the love of his life. Armed with multiple degrees in art, she moves from gallery work and curating to advising wealthy collectors on art investments. Together, Cricket and Olympia embody two opposing ways of living within the art world: one devoted to artistic creation, the other to the institutions and markets that surround it.

The novel raises important questions about the place and purpose of art in contemporary society. Pitching it primarily as a story of friendship between Cricket and Olympia does it a disservice. The sex scenes that accompany their love story are quite campy and rather belong to a conventional romance novel. Yet, as representatives of two competing visions of art and artistic life, Cricket and Olympia are interesting and convincing. Their parallel trajectories, marked by a sympathetic dose of madness, disillusionment, and decline, ring true and contribute to the profound sadness that permeates the novel’s closing pages.

Books: Rivals, A Novel by Jilly Cooper, 1988

The ultimate politically incorrect book!

I came across Jilly Cooper when exploring subgenres of the romance novel. What a prolific writer she is – and how popular she was in the 1980s! Her specialty is the “bonkbuster”: a novel that involves sex, glamour, wealth, power, and plenty of rivalry – business or sexual or both…Her women are “bitches” and her men are “macho”. Cooper herself once complained that her American film adaptations are “demachoing” her characters.

Cooper gets thumbs up for her satirical or quite cynical representation of the upper middle class and all the stupidity and arrogance underlying wealth. Another favorite topic of hers is talent – talented characters can get away with anything. This is exemplified in characters like Declan, Rebecca, Lizzie -a journalist, a producer, and a writer, respectivly. And the author’s ultimate favorite is a character like Rupert Campbell-Black – a sparkling combination of physical beauty, wit, and cynicism (but eventually revealing the macho’s romantic underbelly). One can’t help giving Cooper credit for being able to handle multiple characters tangled in complex relationships, intrigue, drama, failure and triumph to result eventually in a pop-culture’s trashy page-turner. Her concept of human psychology is quite superficial and her achiever characters’ motivation is mainly what passes for success – wealth, power, social recognition, and above all – “winning”!

Apart from some witty lines, the book is quite forgettable but undeniably hits some buttons that the audience always responds to – what would it be if they become suddenly very rich, handsome, sexually irresistible, smart and popular?!

Dream on, ladies…

Books: Taiwan Travelogue, A Novel by Yang Shuang-zi, 2024

The novel won the International Booker Prize for 2026. I would love to have someone explain to me what is the literary value (yes, the literary one, not the political one) of this travelogue. And a travelogue it is! Its main contribution is the detailed description of Taiwan’s railway schedules and delicious Taiwanese cuisine.

The novel uses two, now tired, literary tricks.

The first is the familiar framing device involving the discovery and rediscovery of a supposedly real but actually fictional manuscript. Here, it takes the form of a “new translation” of a nonexistent travel memoir written by a Japanese author visiting Taiwan and becoming attracted to her Taiwanese translator.

The second device is the use of food as the primary attraction of the narrative. Several recent Asian bestsellers follow the same formula — for example, Butter by Asako Yuzuki or The Kamogawa Food Detectives by Hisashi Kashiwai. In Taiwan Travelogue, the protagonist is essentially a glutton who discovers the country through its street food.

To be fair, the food motif works better than the rest. It serves to fill the pages of this short book with mouthwatering descriptions of Taiwanese dishes and ingredients. But this becomes a flavorful substitute for depth in a novel that ultimately has little to say. The author’s deepest insights amount to observations such as: “Real travel means living in a foreign country.”

The judges of the International Booker Prize have, of course, strained to identify some commentary on colonialism — for example, the suggestion that enjoying a country’s cuisine because it is “exotic” rather than genuinely “delicious” reflects a colonial mindset. Other boxes are checked off as well: women pressured into marriage, same-sex attraction, and condescending attitudes toward educated or career-oriented women.

Yet all of these themes are treated in an extremely lightweight manner, while critics call this approach – “ironic” or “multilayered.”

Books: Before I Forget, A Novel by Tory Henwood Hoen, 2025

It is no accident that this book is a bestseller. Essentially, it is a self-help book presented in fictional form—and the fiction is of high quality without being great literature. The novel gently guides the reader through personal failure, coping with death and loss, and dealing with guilt, all in a mellow, compassionate way. A touch of humour and a dose of the occult are woven in, which the reader may take seriously or not.

Henwood’s satirical strength shines when the wellness industry enters the picture. The pages devoted to the main character’s conversations with her boss—the owner of an organic products (or rather, “experiences”) company—are hilarious.

Her most moving prose appears toward the end of the book, when Alzheimer’s and death become part of everyday reality and real pain must be faced in a gracious, unsentimental way. Finally, the author offers the reader one last lifeline with the suggestion that “no one ever leaves this world completely.” You may choose to believe this literally, or simply take it as a comforting metaphor of remembrance.

Books: What We Can Know, A Novel by Ian McEwan, 2025

The novel offers variations of all possible answers to the question “What can we know?” The answers, as expected, are pessimistic. In a world overwhelmed with data and a digital cloud heavy with “knowledge” about everyone and everything, it is still possible to manipulate memory and history as we struggle to “know”. “Most of life is oblivion,” one of McEwan’s characters argues. The truth about the past is unattainable, as it is controlled by the living and by what they have decided to pass on. We can’t know ourselves or what we are capable of. Memoirs are misleading as we put our “better selves” on the page. In a dystopian post-catastrophic world, an age metaphorically named by McEwan – the Inundation (think climate change of catastrophic proportions), humanities and history are losing the attention of the young. The generation of the future is obsessed with the present. Still, a nostalgic professor from the 22nd century searches for a lost poem recited at a birthday party in 2014. This search reflects the author’s hope that literature will still matter…

While the first part of the novel takes place in the future and centers on the search for the lost poem, the second is a soliloquy of the woman to whom the poem was dedicated. It is the more captivating and emotionally engaging part. Here, the novel becomes a satire of sorts of a poet-genius and his literary circle. The poet suffers from “status anxiety” and “limited forgiveness for humankind,” and McEwan so detests him that he turns him into a murderer. Or did he have to do this because he needed to introduce some thriller element to his otherwise quite essayistic narrative?

Stylistically, McEwan is at the height of his craft; his message is melancholic and ironic.