Дэвид Кинан0.0 WINNER OF THE GORDON BURN PRIZE - 2019
Sammy and his three friends live in the Ardoyne, an impoverished, predominantly Catholic area of North Belfast that has become the epicentre of a country intent on cannibalising itself. They love sharp clothes, a good drink, and the songs of Perry Como - whose commitment to clean living holds up a dissonant mirror to their own attempts to rise above their circumstances. They dream of a Free State, and their methods for achieving this are uncompromising, even as they fully indulge in the spoils of war.
Keen to make a difference, the boys find themselves in the incongruous position of running a comic-book shop taken over by the IRA. Their clandestine activities belong in the x-rated pages of graphic fiction: burglary, blackmail, extortion, torture, and murder - and they become transfixed by the initiatory possibilities of free-reign criminality.
But when punk rock arrives and the hard edge of the decade starts to reveal its true paranoid colours, Sammy finds himself increasingly isolated, especially after bizarre and gruesome away days in Glasgow and London. Camaraderie and loyalty is the fuel of a terrorist cell. When those virtues prove faulty, the game is up - and Sammy's world starts to shrink as he is assaulted by terrifying visions.
For the Good Times shouts and sings with visionary depth and power. It is not just a book about the IRA, but an exploration of what it means to 'go rogue', of the heartbreak and devastation that commitment to 'the cause' can engender, of ideas of martyrdom, fatherhood, and self-sacrifice. It unpacks any dewy-eyed romance associated with the Troubles while re-visioning it as a time of psychological and spiritual intensity where the nature of day-to-day reality itself was up for grabs. And through a dizzying amalgam of modernist prose, roughhouse vernacular and hallucinatory Irish humour, it establishes David Keenan as one of our most fearless literary stylists.
Бернардин Эваристо3.9 В романе звучит полифония голосов двенадцати очень разных чернокожих британок, чьи жизни оказываются ближе, чем можно было бы предположить. Их истории переплетаются сквозь годы, перед взором читателя проходит череда их друзей, любовников и родных. Эти истории делают заметными и важными жизни людей, о которых мы привыкли не думать.
Calling to mind the best works of Paul Beatty and Junot Díaz, this collection of moving, timely, and darkly funny stories examines the concept of black identity in this so-called post-racial era.
A stunning new talent in literary fiction, Nafissa Thompson-Spires grapples with black identity and the contemporary middle class in these compelling, boundary-pushing vignettes.
Each captivating story plunges headfirst into the lives of new, utterly original characters. Some are darkly humorous—from two mothers exchanging snide remarks through notes in their kids’ backpacks, to the young girl contemplating how best to notify her Facebook friends of her impending suicide—while others are devastatingly poignant—a new mother and funeral singer who is driven to madness with grief for the young black boys who have fallen victim to gun violence, or the teen who struggles between her upper middle class upbringing and her desire to fully connect with black culture.
Thompson-Spires fearlessly shines a light on the simmering tensions and precariousness of black citizenship. Her stories are exquisitely rendered, satirical, and captivating in turn, engaging in the ongoing conversations about race and identity politics, as well as the vulnerability of the black body. Boldly resisting categorization and easy answers, Nafissa Thompson-Spires is an original and necessary voice in contemporary fiction.
Max Porter3.8 There’s a village sixty miles outside London. It’s no different from many other villages in England: one pub, one church, red-brick cottages, council cottages and a few bigger houses dotted about. Voices rise up, as they might do anywhere, speaking of loving and needing and working and dying and walking the dogs.
This village belongs to the people who live in it and to the people who lived in it hundreds of years ago. It belongs to England’s mysterious past and its confounding present. But it also belongs to Dead Papa Toothwort, a figure schoolchildren used to draw green and leafy, choked by tendrils growing out of his mouth.
Dead Papa Toothwort is awake. He is listening to this twenty-first-century village, to his English symphony. He is listening, intently, for a mischievous, enchanting boy whose parents have recently made the village their home. Lanny.
Pat Barker3.8 The ancient city of Troy has withstood a decade under siege of the powerful Greek army, which continues to wage bloody war over a stolen woman—Helen. In the Greek camp, another woman—Briseis—watches and waits for the war's outcome. She was queen of one of Troy's neighboring kingdoms, until Achilles, Greece's greatest warrior, sacked her city and murdered her husband and brothers. Briseis becomes Achilles's concubine, a prize of battle, and must adjust quickly in order to survive a radically different life, as one of the many conquered women who serve the Greek army.
When Agamemnon, the brutal political leader of the Greek forces, demands Briseis for himself, she finds herself caught between the two most powerful of the Greeks. Achilles refuses to fight in protest, and the Greeks begin to lose ground to their Trojan opponents. Keenly observant and coolly unflinching about the daily horrors of war, Briseis finds herself in an unprecedented position, able to observe the two men driving the Greek army in what will become their final confrontation, deciding the fate not only of Briseis's people but also of the ancient world at large.
Briseis is just one among thousands of women living behind the scenes in this war—the slaves and prostitutes, the nurses, the women who lay out the dead—all of them erased by history. With breathtaking historical detail and luminous prose, Pat Barker brings the teeming world of the Greek camp to vivid life. She offers nuanced, complex portraits of characters and stories familiar from mythology, which, seen from Briseis's perspective, are rife with newfound revelations. Barker's latest builds on her decades-long study of war and its impact on individual lives—and it is nothing short of magnificent.
Niven Govinden0.0 On the steps of New York's City Hall, five ageing Mothers sit in silent protest. They are the guardians of the vogue ball community - queer men who opened their hearts and homes to countless lost Children, providing safe spaces for them to explore their true selves.
Through epochs of city nightlife, from draconian to liberal, the Children have been going missing; their absences ignored by the authorities and uninvestigated by the police. In a final act of dissent the Mothers have come to pray: to expose their personal struggle beneath our age of protest, and commemorate their loss until justice is served.
Watching from City Hall's windows is city clerk, Teddy. Raised by the Mothers, he is now charged with brokering an uneasy truce.
With echoes of James Baldwin, Marilynne Robinson and Rachel Kushner, Niven Govinden asks what happens when a generation remembered for a single, lavish decade has been forced to grow up, and what it means to be a parent in a confused and complex society.
'Niven Govinden is a true force of fierceness and beauty' Olivia Laing
'A vital book' Andrew McMillan
'Vivid prose reinventing ideas of motherhood, belonging and taking us into the community of drag balls and protest, both personal and political' Jenni Fagan
