Such Fine Boys might be a good place to introduce yourself to Nobel Prize winner, slippery Patrick Modiano. It seems to be a kind of reminiscence of his prep school days, a distinguished subgenre.
Throughout this novel, massive in its eloquence, time is bent like a Slinky toy.
Now that is Mr. Gilvarry. That’s what writers are supposed to do, transport you, and entertain.
You’d have to have a heart of stone not to love this novel. Three young women lounging in an ancient graveyard in the Yorkshire sticks that Gardam knows so well have all received good news.
Reading The Maids is like eavesdropping on an intimate Japanese conservation.
Javier Marais is fond of laying out all the possibilities: of what might have happened in the past, of what might be going on now, not in general, but line-per-line as the story unfolds.
The End of Eddy reads like an extended, intense essay, dashed off in white heat.
Amos Oz’s Judas is a story of delicate balances. The sort of novel where you wonder what a room is like when nobody is in it. Judas plays what-if games with history.
Slightness is not an attribute of short books nor profundity a necessary quality of length. Banana Yoshimoto’s Moshi Moshi is a short, beautiful coming of age tale.