Baileys Women’s Prize 2016 Winner Prediction

My first proper book video. I was a bit nervous. What do you think?

The Baileys Prize 2016 winner will be announced next week on June 8th! In case you need a reminder, the six books shortlisted for the prize are listed here where you can also listen to me and Simon from SavidgeReads discussing all of the books in a special Baileys Bearded Book Club podcast: http://lonesomereader.com/blog/2016/4/12/baileys-womens-prize-shortlist-2016

I want to emphasize that I don’t have any affiliation with the prize or publisher so all of my comments and posts about this prize come purely from being a committed reader and lover of great literature written by women.

It’s been fascinating discussing the books nominated for the prize with so many people this year. It’s really helped broaden my opinions about many of the books and hopefully I’ve inspired a few people to pick up books on the list they might not have read otherwise. My opinion has probably changed the most about Anne Enright’s “The Green Road” which is brilliantly and beautifully written, but I do now wonder how well it hangs together as a whole novel since different sections focus on self-contained moments in the family members’ lives. Nevertheless, it still stands as one of my favourite books that I read in 2015.

Compared to last year where I felt Ali Smith was the clear winner, I think it’s really difficult to guess which novel will win this year. “The Portable Veblen” is such a fantastically fun and clever read, but I think it’s too quirky to be considered the best out of all of them. Also, “A Little Life” is an incredibly compelling and moving novel, but it is perhaps too divisive to be unanimously agreed upon to be a winner. This might be why this novel keeps being nominated for prizes like the Booker but not actually winning them. I’ve heard some people say it’s a life changing experience and others say the author betrays her characters after a certain point in the book.

Now, I have to be honest. I haven’t read “The Improbability of Love” and it’s not that I haven’t tried. I started reading it… three times. Usually I give a book 50 pages before I decide to continue on or put it down. I couldn’t ever get past page 20 of this novel. It simply isn’t for me. Some readers who I respect did really enjoy reading it and felt it was a hilarious satire of both the pretensions of the art world and romantic chick-lit novels. Others have been equally unimpressed bit it. I found it too frustrating to read because it felt too trite and superficial. Interesting how almost every year there’s at least one of the books on the Baileys list I don’t get on with such as Rachel Cusk’s “Outline” last year which is a book many people loved, but I found ultimately unsatisfying. Strangely, it’s the books I like the least that drive some people to seek them out and read them out of curiosity.

I think the contest for this year’s prize is really between Cynthia Bond’s “Ruby” and Lisa McInerney’s “The Glorious Heresies”. Both are intense, original and wonderfully written novels. It’s a coin toss between them and in my video about the shortlist I make an instantaneous guess as to which I think will win. However, I could be totally wrong. I think it could really go to any of these novels. I’ve been lucky enough to have been invited to the Baileys Prize ceremony so I’ll be fascinated to see who wins.

If you want to win a copy of the book that I think will win watch my video roundup of the prize, subscribe to my YouTube channel and leave a comment. The competition is open worldwide and I’ll keep it going until the end of June when I’ll randomly select a winner from the comments. Would you like to see me make more videos? It’s a new thing so I’m kind of nervous about it. Let me know what you think, what book you think will win the Baileys Prize and (if you haven’t read any of the shortlist yet) which book you’re most interested in reading.  

Negroland: a memoir by Margo Jefferson

Growing up in an upper/middle class family in Chicago in the 50s & 60s, Margo Jefferson was subjected to unique pressures from within her household and the community around her. She felt self conscious about inhabiting a space in society she refers to as Negroland – a particular socio-economic group of well-educated and financially secure black groups cornered by certain social perceptions. They felt they couldn’t fully be accepted into white society nor did they want to be associated with what were perceived to be lower class/uneducated black people or what Jefferson terms “lowlife Negroes.” This created an intense form of self consciousness where Jefferson felt stuck between assimilating into the white culture including pressures to modify her appearance to look white and separating herself from society’s expectations about how she should appear and act. She states “We knew what was expected of us. Negro privilege had to be circumspect: impeccable but not arrogant; confident yet obliging; dignified, not intrusive.” Jefferson goes on to eloquently describe the historical conflict faced by privileged African Americans and meaningfully conveys the internal struggles concerning racial identity that she’s experienced throughout her life.

It’s fascinating how she connects feelings of self consciousness about privilege throughout generations since American slavery and cites different examples of how different black individuals in positions of power have either reinforced these notions or worked for social progress. She describes how “The secret signal which one generation passes, under disguise, to the next is loathing, hatred, despair. And as a result of these, a sense of perpetual violation.” However, because of social expectations from within and outside of the black community these feelings that Jefferson had could never be expressed and only internalised: “With external failure out of the question, internal discord seemed the only protest mode.” They lead her to some very dark and heartrending moments in her story.

Of course, feelings of segregation based on racial difference were only part of the difficulties of development that Jefferson experienced – something she readily acknowledges. This was a time period of many radical social changes and issues of anti-semitism, sexism, classism and homophobia were also prevalent. It’s interesting and sympathetic how Jefferson acknowledges throughout her memoir the complexity of identity. It’s also touching how unwilling she is to give into self pity and maintain a tough critical distance from the deep emotional hurt she experienced while still making the reader achingly aware of the power of her feelings.

Some of the most wonderful sections of this memoir are Jefferson’s recollections of her development as a reader. She sharply critiques Mark Twain and James Baldwin while identifying strongly with the intense world of Louisa May Alcott’s “Little Women”. Early on in her learning, she rejected male-dominated fiction: “I was a jealous little she-reader; I resented pouring myself into the lives of hero-boys.” Where Jefferson thrived the most is when she identified the writers and cultural movements that she related to and that inspired her the most. She drew particular inspiration from jazz artists and a beat generation which she could feel a part of without letting it define her: “I was trying to enter a world tied to my history but not my autobiography.” Radical movements were necessary to push the kind of social change that could allow ambiguity and individual voices to emerge: “The world had to upend itself before shades of possibility between decorum and disgrace could emerge.”

Ad from Ebony Magazine. Jefferson writes: You will never be the fair sex, but you strive to be an ever-fairer one."

While reading this I was reminded of a literature course I took once where a white teach was giving a lecture about the writer Jamaica Kincaid. She lamented that Kincaid’s more recent work focused on her passion for gardening (something the author acknowledged was inherited from a European tradition). My teacher said she felt the author was trying to be white writing about such a subject instead of focusing on colonialism and racial issues in the Caribbean. I didn’t know how to respond at the time but it feels to me outrageous now that she felt Kincaid should limit herself to a certain kind of writing or not allow herself to take pleasure in activities which didn’t originate from the culture she was born into. It’s terribly elitist and makes me wonder how in some ways “higher education” might reinforce particular kinds of division.

The way that language is used concerning race is a touchy subject. Just by titling her memoir “Negroland” is something which will no doubt provoke an emotional response and I must admit it made me feel self conscious reading the book in public. What might someone think it's about glancing at this title? This is the point. Jefferson means to provoke thought and discussion about the subject – something which is ongoing and necessary. It’s a tremendous strength of this book that it doesn’t lapse into didacticism, but instead prompted me to feel more awareness of how people might or might not change their behaviour based on racial differences. It made me think about how marginalized groups in our society don't all exist on one level but inhabit different spheres of repression and discrimination. It's also striking the unique perspective Jefferson gained from inhabiting a particular group: “Being an Other, in America, teaches you to imagine what can’t imagine you.” This is a powerful and thought-provoking memoir.

The Doll-Master and Other Tales of Terror by Joyce Carol Oates

In her introduction to the anthology American Gothic Tales (1996) which Joyce Carol Oates edited she pays tributes to the gothic tradition in American literature bourn out of a crisis in the Puritan consciousness. She detailed how writers such as Washington Irving, Nathaniel Hawthorne, Edgar Allan Poe, Charlotte Perkins Gilman and H.P. Lovecraft wrote unsettling fiction in which “the ‘supernatural’ and the malevolent ‘unconscious’ have fused” and how Lovecraft, in particular, has a compulsion in his fiction “to approach the horror that is a lurid twin of one’s self, or that very self seen in an unsuspected mirror.” Such a crisis in consciousness where the real and unreal intermingle to produce horrific results is adeptly-realized in the six unsettling and mesmerizing tales contained in Oates’ new book The Doll Master and Other Tales of Terror.

Reading about characters such as a lonely boy whose sister died of a rare disease, a diligent adolescent girl entrusted with house-sitting a beloved teacher’s upscale residence or a wife who ardently desires to be a loving companion to her charismatic husband, we want to believe and trust these sympathetic individuals. Even when taken into the point of view of a white man imprisoned for shooting dead an unarmed black boy, we guardedly hope that there has simply been a misunderstanding as he so vehemently insists. We do this in order to preserve our belief in people’s essential “innocence” and “goodness”. We’re invited in these stories to connect with these characters’ experiences - sometimes in a bracingly direct manner such as this passage in the title story: “All your life, you yearn to return to what has been. You yearn to return to those you have lost. You will do terrible things to return, which no one else can understand.” The involved reader will hesitantly survey his own emotionally conflicted experience as well as fearfully wondering what lengths the cryptic narrator has gone to assuage his own painful feelings about his past. Here is the perverse pleasure of these stories which become so personally involving it’s as if we see the horrific consequences created from our own darkest compulsions (albeit within the “safe” realm of fiction).

Oates has a masterful way of leading us through the consciousness of the troubled individuals at the centre of these stories so that heartfelt sympathy is gradually replaced by guarded unease and, eventually, by a terrifying repulsion. Paranoia leads the characters to conclusions which make them act in a way to justify reprehensible actions. Their fear often comes from social issues such as drug abuse, economic inequality, racial divisions or child kidnapping. The narrator of the story ‘Soldier’ remarks how “Uncle T. has told me This country is at war. But it is not a war that is declared and so we can't protect ourselves against our enemies.” Destructive divisions are created by ideological notions passed down by political rhetoric, extreme religious institutions or inflammatory media sources to create an “us” and “them” mentality where the characters feel drawn into taking extreme action to defend against insidious encroaching forces. At other times, paranoia arises in a more domestic setting from problems that seem sadly endemic of the human condition like a fear that those we love will eventually betray us.

Many stories contain surprising and satisfying twists worthy of the most compulsively-readable tales of Poe or Agatha Christie. Unexpectedly the hunter might become the hunted. Those who seemed well-meaning or benign become frightfully sinister. What felt like sure fact turns out to be fiction formed in a character’s deluded mind. Oates finds inventive methods for keeping the reader on their toes. She invokes the methods of this genre’s great masters while building upon them with issues current to today. “Mystery, Inc” pays the most playful tribute to the suspense genre as it is set in a rural bookstore which contains enticing treasured editions from some of America’s greatest writers. It also allows Oates to engage with a meditation upon the genre itself as a touchstone for our most personal philosophical concerns. The shop’s gregarious owner states that “It is out of the profound mystery of life that ‘mystery books’ arise. And, in turn, ‘mystery books’ allow us to see the mystery of life more clearly, from perspectives not our own.”

"the lonely Siamese cat appeared in the kitchen doorway staring at me with icy blue eyes" from 'Gun Accident: An Investigation'

Another story 'Big Momma' has the tenderly emotional and creeping sinister feel of a fairy tale. An insecure middle school student named Violet who has recently moved with her working single mother to a new area ingratiates herself with a welcoming close-knit family run by a single father. She’s rebellious against her mother and seduced by the caring affection of her friend’s father. Although she becomes naturally wary of something unsettling about her new adopted family, she is seduced by the acceptance she finds with them which feeds her emotionally and physically. The startling outcome and imagery invoked by this parable of young adulthood produces a distinctly haunting feeling.

Oates has previously invoked elements of genre fiction in multiple novels and story collections. These range from novels of ambitious literary scope such as her gothic quintet of books which she first began publishing in the early 80s with the family saga Bellefleur (1980) and only recently completed with the historical gothic-horror novel The Accursed (2013). Some story collections approach genre in a more straightforward manner such as her books Haunted (1994) and The Collector of Hearts (1998) which indulge in sinister stories of the “Grotesque”. Last year she produced Jack of Spades: A Tale of Suspense (2015) which takes the form of a thrilling story about author-rivalry and pseudonyms. With The Doll-Master and Other Tales of Terror, Oates has created unique, gripping stories which take us to the most extreme edges of what people are capable of when logic breaks down and their minds are plagued by virulent emotions. The terror comes from knowing that with a twist of fate their stories could become our own.

This review also appeared on Bearing Witness: Joyce Carol Oates Studies

The Gustav Sonata by Rose Tremain

I had the pleasure of hearing Rose Tremain read from her new novel “The Gustav Sonata” at a special event at Waterstones Piccadilly several weeks ago. The section she read and her writing in general has a wonderful way of drawing you into the lives/experiences of her characters so I was eager to read this new novel – especially since I loved her previous book “The American Lover” which is a collection of short stories. It’s admirable how Tremain never sticks to writing about any one particular genre, subject matter, time period or area of the world. Her books span from historical novels set in the court of Charles II to the mid-1800s New Zealand gold rush to stories about migrant works in modern London. “The Gustav Sonata” primarily takes place in pre and post-WWII Switzerland (with a later leap to the more recent past). Given its location it gives an interesting slant on the war and the meaning of neutrality by focusing on the lives of two different families affected by the greater conflict. It’s a deeply immersive story about loyalty during times of conflict, ambition, betrayal and family strife that made me stay up late at night longing to read more.

The novel centres around a Swiss boy named Gustav whose single mother Emilie struggles to make ends meet while working in an Emmental cheese factory. His father Erich died at an early age, but was once an assistant police chief during the tense period in the lead up to the war. In 1948, a six year old Gustav befriends a new Jewish boy named Anton at school. Emilie resents her son’s companion because she blames their diminished circumstances on the influx of Jewish refugees. It’s not difficult to see how these embittered isolationist feelings still resonate today in current political opinions. Despite his mother’s objections, Gustav and Anton form a special bond which continues throughout their lives. Questions raised about how Emilie got to this difficult point are answered in the second part of the novel which moves back to 1937 to recount her tumultuous marriage with Erich. The third part of the book then skips far forward to the end of the 20th century to show how dilemmas about his family and his country’s past still resonate for Gustav in his later years.

Tremain skilfully raises many difficult questions about what happens to political allegiance, social responsibility and moral conscience when put under the pressure of warfare. Being only a boy during WWII, it takes Gustav a lifetime to untangle the truth and meaning of the decisions his parents and their friends took at the time. It’s remarked how “Europe is at war. Fairness is now becoming a word without meaning.” There is no balanced view when embroiled in the fear and terror of this conflict. When looking at specific actions from a historical point of view, it’s easy to judge what was right and wrong. But when facing conflict in the present when you’re aware of different negative outcomes no matter what decision you make, the choice is not always so clear. By moving backwards and forwards in time through different parts of this novel, Tremain artfully shows the true nightmarish dilemma faced by ordinary people caught in a large-scale battle.

I also greatly appreciated the dynamic view of transforming sexuality represented in the personal lives of her characters. Throughout their entire adult lives all of the characters find their desire changes which also transforms their points of view. Lottie, the wife of Erich’s friend Roger, is a particularly fascinating character who finds herself drawn to the forbidden and struggles to express her sexuality within the narrow confines of society. Also, there’s a particularly memorable and disturbing section where a mentally-disturbed young neighbour attempts to sexually abuse Gustav when he’s still a boy. Although this character and his actions are reprehensible, he is still treated in a balanced way as he is evidently a victim of shock treatment and other damaging medical therapies of the time. There is also an innocently intimate scene between Gustav and Anton as boys which is so delicately portrayed. Tremain has a tremendous ability for writing intelligently and sensitively about the ever-evolving sexuality of a broad range of characters.

A subterranean melody plays throughout Gustav’s journey in this novel. As a child Anton is an aspiring pianist and his desire for fame hangs upon him throughout his life despite his crippling performance anxiety. He frequently plays Beethoven and other composers to Gustav. It’s extraordinary how I started to almost hear this music playing as I progressed in reading the novel. Like great works of music, “The Gustav Sonata” has a subtly transformative effect saying what can’t be overtly stated by using a juxtaposition of characters, place and images. It also made me salivate to try Emilie’s favourite desert Nusstorte! This is an exceptionally beautiful and accomplished novel.

Sergio Y by Alexandre Vidal Porto (translated by Alex Ladd)

Sometimes real happiness can only be found through a radical process of self reinvention. It takes a considerable amount of courage to move to a new country on your own, leave behind everything that’s been familiar or change your name to become another person. “Sergio Y” is powerful novel about how some people aren’t able to really be themselves or fulfil their potential within the family, community or even the body that they were born into. It’s about the extensive lengths some must go to and the hardships they must endure to fully inhabit the life they were meant to live. This novel is also a compelling mystery whose story becomes more and more intriguing with every new bit of information its obsessive narrator tracks down. 

There can be something really powerful in a good tale told in a simple direct prose style. “Sergio Y” is narrated in short sections by a seventy year old therapist named Armando about incidents surrounding his client Sergio Yacoubian. Armando boasts that he is one of the most respected doctors in São Paulo, but Sergio's case haunted him for many years and became something of an obsession. Sergio came to see him as a teenager troubled by a sadness he didn't understand. After months of sessions in which they discussed his life, particularly his great-grandfather's emigration to Brazil where he escaped the massacres which occurred during the Turkish war in the early 20th century, Sergio alighted upon a path towards happiness. He moved to New York City and went through the process of transitioning from male to female. However, Armando wasn’t aware of the fact Sergio was transgendered when he treated him. Consumed with guilt about a case he didn’t fully understand, Armando investigates what happened to Sandra by speaking to her family, American therapist and her troubled neighbour. Gradually he comes to a better understanding of what it means to seek real happiness in life.

Although this novel has a deeply tragic element to it, it’s admirable how Porto makes of the story something ultimately hopeful. He shows that strength of will and determination can triumph over circumstance. Here he movingly describes the state of mind required to initiate radical change: "Many manage to improve on the first drafts of the lives they are given. But for that they need the courage to jump off a diving board fifty meters high, blindfolded, not knowing if it is water or asphalt that awaits them below." This novel is also a sympathetic and refreshing portrait a transgender individual. Even though I read about an equally compelling transgender character in Jenni Fagan’s recent novel "The Sunlight Pilgrims" it still feels as if dynamic and interesting characters that were born with the wrong gender don’t often appear in many books. I would love to see more novels where transgender characters appear where their transition isn't necessarily treated as an "issue" but a simple fact. This is something I believe "Sergio Y" somewhat achieves because Sandra herself doesn't struggle with her transition process; it's the doctor who must come to terms with it. It was a great pleasure reading this emotional and fascinating new novel.

The Sacred Combe by Thomas Maloney

There’s a special pleasure in finding something another reader has left in a used book. While reading you might come across a train ticket, a receipt or a passage in the text that’s been emphatically underlined. Suddenly you find yourself connected to an unknown reader from some period in the past. If you have a curious and imaginative mind you might wonder if the previous owner read this book while on a busy journey or alone in a study. Did she/he finish it? What did she/he think about it? It’s a unique feeling of connectedness that’s entirely different from the enjoyment of cracking open a pristine new book. “The Sacred Combe” is a family saga told not by immersing the reader in specific stories about different generations, but providing flashes from their lives which have been left in their enormous library. The narrator and the reader of this novel must piece together their story from what scraps of personal information different family members have left within the books that they read.

The central story of Thomas Maloney’s compelling debut novel features an undeniably alluring job for any serious book lover. Banker Samuel Browne turns to reading for comfort and to take his mind off from the collapse of his personal life when his wife suddenly leaves him. He tackles Edward Gibbon’s multi-volume enormous text “The History of the Decline and Fall of the Roman Empire” and finds within it a cryptic advertisement to volunteer in someone’s private library. When his brief phone application for the job is accepted he leaves his London life for a rural northern location. Here he meets an elderly man named Arnold Comberbache who presides over Combe Hall, a 230 year old collection of books which is “one of the finest private libraries in the country.” A vital personal letter has been hidden somewhere in this library by Arnold’s ancestor Hartley. Thomas is charged with searching through each book one by one. Along the way, he unravels the fascinating history of the Comberbache family by discovering notes written in the books’ margins, letters tucked between the pages or intriguing references to significant events. He also has the pleasure of nosing through a plethora of rare and unusual books!

During his patient search, Samuel meets the remaining people who are associated with the historic hall such as the punctilious housekeeper Miss Synder or the mysterious young scarred artist Rose who help fill in missing details not found in the texts. He also explores the large estate which includes many hidden curiosities such as a special temple in the forest built to appreciate light and the movement of celestial bodies. Samuel’s complete immersion in the story of this family which is entangled with a mystery about one of the great poet’s of the age provides a way for him to escape the desolation of his marriage and start anew. It’s an escape into a meditative space. It is observed how “When the cordons of habit are withdrawn, the unruly forces of the mind strike out in new directions. Our own thoughts can seem almost as unfamiliar to us as our new surroundings: reason itself begins to turn in our grasp.” In the alien environment of Comberbache family’s historic abode, Samuel gains a valuable perspective about what he wants in life and finds himself unexpectedly entangled in the family’s complex narrative.

Maloney does well to avoid any clichéd resolutions to the novel. Instead he creates an intriguing conclusion which can be interpreted in different ways. This book isn’t about neat resolutions, but a process of discovery. There are moments when the story about the family becomes somewhat convoluted – especially because many of the Comberbaches have the same first names (something Arnold himself admits is confusing for archivists). But patient readers will be rewarded with a complex puzzle to uncover scandalous events involving opium, infidelity and plagiarism. “The Sacred Combe” is a cleverly-structured moving meditation for anyone who isn’t sure what step they should next take in life. It’s a richly immersive bibliophile’s fantasy. Appropriately for its subject matter, this novel also has a gorgeously designed cover itself.

Hot Milk by Deborah Levy

To what degree do labels like mother, father, daughter or son define us? Ideally different relatives will take on different nurturing roles for their family members in times of need. Traditionally it's the mother who is expected to perpetually care and nourish her family. In Deborah Levy's novel “Hot Milk” the mother-daughter roles are reversed. Twenty-five year old Sofia moves with her mother Rose to the desert landscape and jellyfish-laden beaches of Andalucía in southern Spain. Rose has chronic problems with her feet and can barely walk, but these symptoms might be fantasized. Sofia takes out a substantial loan to get her mother treatment in the Gomez Clinic run by an exuberant doctor with questionable credentials and his artistic daughter who he calls Nurse Sunshine. While relations with her mother become strained, Sofia embarks on two separate affairs with an attractive man named Juan and a formidable German woman named Ingrid. She also travels to Greece to meet her estranged father who has married a woman forty years younger than him and given birth to her new baby sister. In this story Levy creates a challenging and fascinating view of families whose constantly shifting dynamics both support and destroy each other. 

Sofia's engaging, funny and perceptive voice brings this story to life. She trained as an anthropologist but her career has only consisted of working at a coffee house. The novel starts with her dropping her laptop. Now that the image of the universe used as the background on her screen has shattered, her view of her life and those around her becomes fragmented. The tone of her narrative fluctuates between comic moments such as when she contemplates a cartoon character's personality: “Is Donald Duck a child or a hormonal teenager or an immature adult? Or is he all of those things at the same time, like I probably am? Does he ever weep? What effect does rain have on his mood?” and deeply-moving starkly-metaphorical statements such as “My love for my mother is like an axe. It cuts very deep.” She sees the world from a really interesting point of view that made me think differently about ways in which we are perceived and how we perceive others.

I admire the way Sofia's fluid sexuality plays out in the novel. She engages in passionate sexual relationships with a woman and man with equal force stating “Ingrid and Juan. He is masculine and she if feminine but, like a deep perfume, the notes cut into each other and mingle.” Her relationships with them are more determined by their personalities. Her affair with Juan is casual and comforting whereas she finds her affair with Ingrid (who is also in a relationship with a man named Matthew) to be more tumultuous and energizing. In a strikingly symbolic scene Ingrid kills a snake with an axe as if demolishing the need for any man's presence in their lives.  

Although many people find her beautiful and seductive, Sofia views herself as something of a monster who swims with jellyfish in the sea (locally known as medusas). At several points in the novel the narrative breaks from Sophia's point of view to short statements from someone who is persistently observing her from a distance. Sophia is conscious of steadily gaining weight and her mother makes her feel ashamed about this: “It is true that I have shape-shifted from thin to various other sizes all my life. My mother’s words are my mirror. My laptop is my veil of shame. I hide in it all the time.” Negative self-perception is also reflected back at her in how Ingrid views her “She wanted to behead her desire for me. Her own desire felt monstrous to her. She had made of me the monster she felt herself to be.” These relationships make a compelling view of the way that women can sometimes sadly demean each other. Also, by focusing on the importance and power of women's relationships to each other she annihilates the notion that a woman's most important relationships are with men: “Neither a god nor my father is the major plot in my own life. I am anti the major plots.”

Images of milk and motherhood abound throughout the novel which gives its title a steadily increasing power. It's suggested that she go to visit a statue of the Virgen del Rosario that “is made from a delicate marble that is the colour of mother’s milk.” At another point she contemplates “Is home where the raw milk is?” Dr Gomez has a cat named Jodo who gives birth to kittens which eagerly feed from their mother in a scene that makes powerful statements about the meaning of nurturing. Sophia watches her young step-mother feed her infant sister from her breast in a way that makes her emphatically stand apart from any traditional notion of engaging with motherhood herself. Instead, she defiantly declares her physical being as separate from that course in life: “I was flesh thirst desire dust blood lips cracking feet blistered knees skinned hips bruised, but I was so happy not to be napping on a sofa under a blanket with an older man by my side and a baby on my lap.”

One of the most powerful lines in the novel comes amidst Sophia's anthropological musings about the power of signs in our culture. She questions the degree to which individuals fit into the common symbols for male or female as seen in signs for public toilets. Subsequently she wonders about the labels in family life: “A wife can be a mother to her husband, and a son can be a husband or a mother to his mother, and a daughter can be a sister or a mother to her mother, who can be a father and a mother to her daughter, which is probably why we are all lurking in each other's sign.” There is something beautifully freeing in this statement that we don't need to feel trapped as any one kind of thing in how we relate to our family members. Our ways of being come out of how our unique familial situation exists at any one point, not out of predefined roles which we must play.

"the tentacles of the jellyfish resemble the hair of the Medusa, which in pictures is always a tangled mess of writhing snakes."

It's interesting thinking about “Hot Milk” in relation to Elizabeth McKenzie's recent novel “The Portable Veblen”. Both centre on women with distinctly original points of view who have difficult hypochondriac mothers that they feel compelled to care for. They each come from different story angles to show how we can grow into different relationships with our parents, that we can move freely between being nurtured and nurturing. However, McKenzie focuses more strongly on the development of a sustainable balanced romantic partnership where Levy's novel is concerned more with developing a substantial individual sense of self outside of society's expectations.

I think “Hot Milk” will continue to have a subconscious effect on me in the future. You know how sometimes you'll recall a scene or character or original point of view from a novel many years after you've read it? There are aspects of “Hot Milk” which I can already feel echoing through me. Deborah Levy has a powerful use of imagery which unsettles in a way that is welcome because it helps broaden my perspective. It's a fantastic, distinctly powerful novel.

The Desmond Elliott Prize shortlist

If you need any other proof that new Irish fiction is going through a particularly exciting period, look at the Desmond Elliot Prize shortlist. Gavin McCrea and Lisa McInerney are two of the most exciting debut authors I’ve read in recent years. Since I first read it a year ago, I’ve brought up Mrs Engels many times on this blog and on social media. You know what I’ve said about it so here is what the prize’s Chair of judges Iain Pears says about McCrea’s novel:

“McCrea has cleverly included just enough historical detail to set a very evocative scene, then lets his cast tell the story. The writing always surprises, his characters are compelling without having to be likeable and, as all of we judges noted, Mrs Engels is perhaps the most feminist novel we read for the Prize.”

That’s an interesting final thought considering McCrea was one of only three men out of the ten authors on the Desmond Elliot Prize longlist!

Lisa McInerney's novel is a powerfully-written and sweeping tale of modern day Cork that includes people who aren’t often portrayed in fiction. It’s also recently been shortlisted for this year's Baileys Prize for Fiction.

Pears said: “It is no surprise that not one but two major literary prizes have noticed McInerney’s talent. She gives us strong, complex working-class characters with real emotional hinterlands, and plays with the reader’s emotions in an extraordinarily sophisticated way.”

Also included in this shortlist of three is Julia Rochester’s striking novel about family secrets. It’s a novel that also made the Baileys Prize for Fiction longlist.

Pears said: “Rochester’s writing is quite wonderful – she is particularly strong on her sense of place. She brings the landscape to life just as she does her characters. We all felt we were with them at key points in the book.”

Click on the titles below for my full reviews about each of these novels.

Mrs Engels by Gavin McCrea
The Glorious Heresies by Lisa McInerney
The House at the Edge of the World by Julia Rochester

The winner will be revealed at a ceremony at Fortnum & Mason on 22 June, where he or she will be presented with a cheque for £10,000.

On Reading, Writing and Living with Books

Books are an important physical presence around anyone who feels reading is a major part of living. I can spend a lot of time just gazing at my shelves wondering what I should read or reread next or simply enjoying the company of my books. Of course, no book was created in isolation but produced by someone who was influenced by reading countless other books. The traditional hub for many great writers to discover books that inspire and inform them has been the library. This year The London Library which is the world's largest independent library with more than a million books and periodicals in its collection is turning 175 years old. “On Reading, Writing and Living with Books” is a compact collection of pieces by great writers such as Virginia Woolf, Charles Dickens, George Eliot, EM Foster and the poet Leigh Hunt – all of whom were active members of The London Library. They contemplate the experience of being committed writers and readers who share the same wonder, joy and excitement we all feel when staring at a shelf filled with books.  

It's surprising how relevant some of the arguments and questions raised in these pieces still feel today. I suppose this is because the experience of being an enthusiastic reader never changes. George Eliot muses upon the profession of writing in her essay 'Authorship' and how writing for a living can cause someone to compromise their vision and morals due to commercial pressure. She considers the cultural impact of great writing against the degree to which its valued by society. These feel like the same arguments that are made in current articles on how authors are woefully underpaid. Virginia Woolf addresses the issue of criticism and urges readers to come to books with no preconceived notions or expectations about the text: “Do not dictate to your author; try to become him.” In her typically ingenious way she meditates upon the interplay between the physical world around us, the imaginative world the author places us in and how these intermingle.

Charles Dickens' letter to George Eliot is filled with praise for her first publication “Scenes of Clerical Life” yet he shows himself to be incredibly astute guessing in a friendly manner that she is not male as her pen names suggests but female (something which was not publicly known at the time). Leigh Hunt contemplates his passion for the books around him, the manner in which books are consumed and how they are a touchstone to the past. He shows a certain snobbishness about different kinds of literature and how access to books is connected with privilege (this was certainly true when he was alive in the mid-1800s.) In a way all book lovers can relate to, he goes through some of his prize possessions on his bookshelves developing a fetishism for the beauty of certain books. He also covets the books other readers' possess remarking: “I cannot see a work that interests me on another person's shelf, without a wish to carry it off.”

EM Forster wrote his piece about The London Library itself at a time directly before WWII when he was aware of how precarious books and the inheritance of knowledge was in the face of rampant destruction. In this bleak time he ardently remarked about the library that “It is a symbol of civilization. It is a reminder of sanity and a promise of sanity to come.” It's comforting to know that The London Library is still thriving. This week from May 5th-8th to celebrate their 175 year a number of readings and events called Words in the Square are taking place.

This book is a fantastic touchstone for readers and lovers of literary culture exploring from different angles the way literature plays an active part of daily life. It makes a wonderful companion to Ali Smith's recent book of stories and collection of testaments about the importance of libraries Public Library. In the preface to each piece in “On Reading, Writing and Living with Books” there is a short fascinating paragraph about each author's relationship with The London Library – for instance, when Virginia Woolf joined she gave her occupation as “Spinster”. These pieces reinforce how important the library was for these writers and this anthology is a wonderful celebration of our literary culture.

The Sunlight Pilgrims by Jenni Fagan

Apocalyptic visions of the future usually brim with dramatic conflict amidst large-scale destruction in society. Jenni Fagan takes a much more soft-treading and realistic approach to representing probable outcomes of climate change in her novel “The Sunlight Pilgrims” where a group of characters hole up in a Scottish caravan park for the onslaught of a cataclysmically cold winter in the year 2020. Rather than any explosive end to civilization, it seems much more likely that in the future life will still continue much as it does now until the effects of rising global sea levels make an unavoidable difference to our daily lives. Here it’s represented by a slow-moving iceberg making its way to the British Isles. Meanwhile many huddle within the commercial comfort of IKEA hoping that it’s not really happening. Amidst this coming crises, a fascinatingly unique group of characters at the margins of society deal with their own personal struggles while preparing for the coming of another Ice Age.

Central to the story is the beautifully realized character of Stella, an eleven year old who was biologically born a boy named Cael. Stella has been ostracized from the social groups she so recently enjoyed easy companionship with. She finds it particularly painful that a silence now exists between her and an attractive boy named Lewis who once kissed her. He bows to the peer pressure from his friends who mock and attack Stella for being transgendered while secretly still harbouring feelings for her. Stella also faces institutional challenges from a doctor who refuses to prescribe much-needed medication to block the hormones which are causing her to grow into a male with emerging facial hair and a deepening voice. Nor will he speed up a referral to a specialist who would hopefully be more sympathetic to her condition. This causes her internal anguish being trapped in the wrong body where “she feels like sprinting away from herself.”

Luckily Stella’s mother Constance rallies to her daughter’s support and fights for the justice that the vulnerable child isn’t able to insist upon herself. It’s touching how she exhibits total love for her daughter while struggling with private feelings of mourning for the son she has lost. It is also lucky that she’s strikingly capable in matters of survival ensuring that her family and those close to them are well prepared from the impending potentially lethal freeze. She’s someone that has been relegated to the margins of the community due to her unashamedly non-monogamous love affairs – for many years she maintained a simultaneous relationship with two men.

The mother and daughter meet a new neighbour in the park named Dylan who recently moved from London after the death of his beloved mother and grandmother. They left him a trailer in this remote village of Clachan Fells which he’s had to retreat to after the closure of the family-owned London arts cinema where he was raised. Dylan muses frequently upon his bohemian upbringing and the strong, compelling women who raised him. His grandmother Gunn MacRae won the cinema in a poker game when she was younger and maintained a bracingly liberal attitude towards sex stating in one dream-sequence: “always have a lover on the side or you might as well be dead.” Poring over things left by Gunn and his mother Vivienne, Dylan gradually discovers that his familial links to this little community are more complex than he first realized.

"Fronds of ice have all blown in one direction, creating feathers"

Fagan's writing has a remarkably poetic quality when she describes scenes of tremendous emotional conflict. In one of the most striking and emotional moments in the novel Dylan climbs up a mountain during particularly foggy weather. Troubled by his grief and memories his body seems to disintegrate into the haze. There follows a remarkable fluidity between the internal and external landscape which I found so beautifully moving and effective. Paired with these lyrically-charged passages, Fagan is equally skilful at writing punchy dialogue which brings life to the characters and grounds the narrative in realistic scenes.

“The Sunlight Pilgrims” is a beautifully written and chilling vision of the future with refreshingly original characters.

The Course of Love by Alain de Botton

Most love stories traditionally focus on the dramatic heights of romance or bitter breakups through betrayal. “The Course of Love” focuses instead on the interstices between dramatic events in a long-term relationship, those feelings and uncertainties that aren’t mentioned when a couple summarizes the story of their life together at a dinner party. It’s in these unspoken moments where we really live in relationships and where we thrive or falter as a couple. We can only really understand what committing to a relationship means when we look at the quiet unglamorous struggles which take place between couples in daily life. This is the story of Rabih and Kirsten who meet, marry and become parents. Spliced in between their tale are sympathetic ideas about the challenges found in all relationships and how the reality of love doesn’t often match idealistic notions about the story of romance. This makes Alain de Botton’s novel a highly unconventional read, but it is nonetheless intensely felt and deeply meaningful.

It’s skilful how de Botton manages to be rigorously thoughtful in his analytical commentary about what this couple are experiencing in their relationship without detracting from the believability of Rabih and Kirsten’s struggle. There’s an old edict in the school of story telling that you should show and not tell and Alain de Botton does a lot of telling in italicised pauses within the story, yet he does so in a way that smoothly integrates with the conflicts played out through the couple’s actions. I felt engaged by instances like the loss of each of their parents, the heat of their arguments and the passion of their sensual encounters. Their story is unique, yet many of the issues they face are universal. The novel primarily focuses on Rabih’s perspective while also rigorously including Kirsten’s point of view. One of the most touching moments is when Rabih’s comes to a hard realization that he is “anxious to the core, in his most basic make-up: a frightened, ill-adjusted creature.” Instead of annihilating his sense of sense, this confession of vulnerability allows him to awaken to the reality of love.

"Both equally aware that it would be a genuine waste of time to stand in an aisle at IKEA and argue at length about something as petty as which glasses they should buy (when life is so brief and its real imperatives so huge)"

The author adeptly touches upon feelings which everyone has in relationships, but which we’re afraid to discuss because they might besmirch the enchantment of romance. Instead of seeking a resolution for conflicts like friends who don’t get along with our partners, insecurities caused from past experience, a diminishing sex life, the challenge of child rearing, professional disappointment and infidelity, the author embraces the messiness of these issues to offer surprising and controversial perspectives on how to navigate through them. This is meant as a corrective critique to traditional stories of romance as Rabih finds “the versions of love presented in films and novels so seldom match what he now knows from lived experience.” Instead of giving us a romance with a resolution this novel gives us a meditation upon its unwieldy and often perverse shape. The title takes on a double meaning as the story explores what the longevity of love means, but the book also provides an education on why contradictory impulses might guide the evolution of our relationships. I found this novel a fascinating read which spoke to me personally in many different ways.

What is Not Yours is Not Yours by Helen Oyeyemi

Is it possible to be totally perplexed and completely enchanted by a book at the same time? The fiction in “What is Not Yours is Not Yours” doesn’t follow neat arcs in storytelling. Just when you think you’re in a fantastic medieval land you suddenly find yourself in the realistic present. As soon as you get a grasp of the relationship between certain characters a decade passes within the story and everything has shifted. A story that you thought was about a ferocious female fish turns into a pop star’s fall from grace. It may sound like Oyeyemi is being wilfully opaque or mystifyingly clever, but there is something so engaging about the meaning she conveys through her indirect paths of writing that I found myself mesmerised and frequently moved. There isn’t any other way to say what she’s saying and there is no other writing doing what she accomplishes so admirably in this incredibly creative and striking book.

What makes Oyeyemi’s writing so compulsively readable is how funny and surprising it can be. To offer an opposition to an all men’s university group some women form a social club called The Homely Wenches. They go about mixing the gender segregated libraries between the two groups so Lucia Berlin’s stories are exchanged for John Cheever’s, etc. Another story surrounding a finger puppet school involves rigorous classes, assignments and auditions. This isn’t to say the subject matter handled in this fiction is frivolous. Quite often when I felt myself being lulled into complacency at the bizarre situations, I became suddenly emotionally gripped. For instance, the story 'drownings' which features a tyrant who indiscriminately disposes of people who vex him feels resonant of any number of oppressive political regimes. Or in the story 'presence' a couple uses a special programme to gain perspective on their tumultuous relationship which allows them to see a potential son grow into an old man. It’s not surprising that in his excellent review in the Independent Stuart Evers marks this story as a particular favourite. It has an inventive sci-fi premise which yields meaningful commentary on relationships in a similar way to his story ‘Swarm’ in “Your Father Sends His Love”.

"In England, Punch is a sensitive chap; any passerby who so much as looks at him the wrong way is promptly strangled with a string of sausages."

Although there is a striking fluidity of identity in this fiction with free movement between gender, sexuality, race and nationality, Oyeyemi sometimes drops in specific references gently poking fun at our stereotypes and assumptions about people. It’s stated in one story how “His skin tone lent him enough ethnic ambiguity for small children whose parents had a taste for vintage Disney to run up to him and ask: ‘Are you Aladdin?’ He’d flash them a dazzling smile and answer: ‘Nah, I’m Hercules.’” When fixed marks of identity appear within the stories they are humorously brushed aside as if it’s ridiculous to think that these are things which can neatly define us. There is something refreshingly liberating about this allowing readers to feel the sort of utopian freedom from the strictures of being that is only possible in fiction.

It’s impressive how Oyeyemi uses language in a way that stretches meaning to tease out the absurdities in our manner of speech and plays upon hidden dualities of words. Literature is so powerful it takes on a life of its own: “A library at night is full of sounds: the unread books can’t stand it any longer and announce their contents, some boasting, some shy, some devious.” It reminds me of Ali Smith's fiction in the humorously intelligent way she plays with words and gleefully mixes high culture with low culture - references to Gogol are mixed with comments about John Waters and watching Eurovision. Oyeyemi has a perspective that is utterly unique playing with genre and form to say something entirely new. Many of these stories have a fairy tale feel (one shows a woman's encounter with the wolf that the Big Bad Wolf was inspired from) and keys that fit mysterious locks drift through several of the stories. Although this gives the stories a timeless feel what they end up saying about romance and culture feels relevant to our immediate present.

This isn’t the sort of writing that you can read with your mind half on what you should make for dinner. It is intricately detailed and if you aren’t paying attention the ground will completely shift beneath you. The author packs a lot into her stories and they are so compelling that I know rereading them will be richly rewarding. I've never read Helen Oyeyemi before, but now I am a committed fan.  

Different Class by Joanne Harris

Imagine if a novel were like a gripping and skillfully-set game of chess. The characters in Joanne Harris’ novel “Different Class” are locked in a psychological battle against each other in a story that plays out over 25 years. The setting is St Oswald’s, a boys church school steeped in tradition whose reputation has fallen under public scrutiny following a series of scandalous events involving molestation and murder. Chapters alternate between the year 1981 when a troubled boy kept a journal about his time at the school and 2005 when an aging form-master Roy “Quaz” Straitley recounts the substantial changes at the school following the appointment of a new Head. This is a dramatic tale of conflicting ideologies, lifelong secrets and the social evolution of an institution built upon conservative values.

What’s so engaging about Harris’ main characters are how unlikeable they are on the surface, but I gradually grew to feel very sympathetic towards both of them. Mr Straitley is a Latin teacher with a penchant for liquorice allsorts who wants to uphold St Oswald’s traditions at all costs. He bemoans how socially enlightened thought is filtering its way into the school. It’s remarked how what is now identified as Attention Deficit Disorder “used to be called Not Bloody Paying Attention”. Yet, for all his griping and stuffy old ways, he has a genuine affection for “his boys”, cares about their education and wants to support them throughout their lives. He can also have a surprisingly enlightened attitude towards differences in sexuality having maintained a long-term friendship with a colleague who is an English Master and came out to him early on.

Reading the school boy’s journals the reader feels very wary of this adolescent who frequently refers to his hidden “Condition” and how his reason has been warped by his ultra-religious upbringing. Frequently he’ll justify his proclivity towards dealing out sadistic punishment by believing the righteous mindset of his church: “if God made me, which my dad and everyone else at church seem to think – then I guess it’s God’s fault I’m this way.” He addresses his entries to someone he calls “Mousey”. We only later find out the significance of this person and the things that happened in some disused clay pits frequented by delinquent school boys. He ominously states that “when people get in my way, bad things sometimes happen.” Yet, as twisted as the boy’s mindset is, I grew to feel a tenderness towards him as he wasn’t able to develop emotional stability in his poisonous home environment and how he became a pawn for a religious institution that wanted to impose its values upon the workings of the school. He finds a mentor in the figure of affable teacher Mr Clarke, but his attachment to him sours when he feels betrayed realizing he’s not the only boy worthy of this teacher’s attention.

When Mr Clarke plays David Bowie to a school boy for the first time he feels "the music seemed to fold around me like a hand and finger its way into my heart... To me it was like a door in my mind opening into another world"

What’s really driving these individuals and many of the other compelling characters in this novel is a desire to be part of a group and institution that will make them feel valued. The author has a meaningful way of writing about how St Oswald’s has the power to enhance the characters’ self esteem, but also make them feel isolated and alone. It’s stated how “Our sense of belonging is nothing more than bright reflections on water; on a sunny day, we can see the sky; the clouds; each other. But dark water lies in waiting for the unwary; for us all. Dark water doesn’t discriminate.” The school which Straitley has put all his faith in is transforming in a way he can’t control and suddenly he feels alienated from it. On the opposing side, the school boy never felt the acceptance he desired so seeks to enact his revenge against the place and people who failed to embrace him. When institutions like St Oswald’s don’t recognize how individual differences can make a community stronger, people are left feeling dangerously isolated.

The tightly plotted drama of “Different Class” plays out in a way which is exciting and surprising, but the novel also says something meaningful about our shifting sense of values. I read this novel at a much faster pace than I read most books for the sheer pleasure of the idiosyncratic characters and the desire to know how their intriguing story would play out. It’s a highly enjoyable read.

Fever of Animals by Miles Allinson

It's sobering to find as we grow older we not only accrue a collection of memories, but an awareness of the things we might have done if we'd made different life decisions. So this historic time and imagined time coexists simultaneously in our minds. We're all the more aware about what might have been when thinking about people we once knew intimately but aren't close to anymore. We recall the futures we envisioned together and how differently everyone's life turned out from how it was imagined.

The protagonist of Miles Allinson's “Fever of Animals” (who is also called Miles) has come to a difficult point in his life. Now in his early thirties: his father has died, he's abandoned his ambition to be a painter and he's separated from his longterm girlfriend Alice. He's filled with uncertainty about his future. One evening he's having dinner in an Australian restaurant when he sees a mysterious painting called Night with Horses. Something about this artwork speaks to him so profoundly: “It is a painted moment composed of many moments, of many tiny decisions. And yet through this slow accumulation, something rare has been fixed in time, like a corridor through which this secret force still pours out.” He becomes obsessed with tracking down its painter and understanding what happened to this artist's life. He learns it was created by a surrealist named Emil Bafdescu who lived his later life in obscurity before walking into a forest one day and disappearing. It's as if by solving the mystery of what happened to Bafdescu Miles can find a meaning in his wayward, uncertain life.

It's easy to relate to Miles who describes his early years and university life which were filled experimentation, high ideals and exciting discoveries. He's conscious of how his attitudes at the time consisted of a lot of posturing and judgement: “Self-righteous indignation was, in those days, my favourite emotion.” He and his friend Kas wanted to make important artworks that were informed by significant movements like surrealism, but said something important about their own time. Eventually, Kas developed a career and settled down. Miles travelled the world with his highly intelligent girlfriend Alice who helped support him while he worked on his paintings. Eventually their relationship breaks down and she marries a man named Wido in Berlin. Miles feels like he alone is holding onto the ideals he and these people shared.

Bafdescu is a fictional artist, but the author convincingly creates a story of how he was heavily involved in the European Surrealist movement from the 40s till the 60s. Allinson writes Bafdescu into the history of real artists like Ghérasim Luca. The character of Miles spends his time travelling around Europe piecing together the scant amount of information that still exists about Bafdescu and writing speculatively about what happened to the painter. Meanwhile he recalls incidents from his past and sets out to find Alice who has stopped responding to his messages.

There's a charming indignation about Miles who feels that people shouldn't give up on their ideals, yet he also has the humility to know that compromise doesn't necessarily equate to betraying what you believe. He looks back upon the way an artistic movement fizzled out because of war, political shifts and changes in the personal lives of its progenitors: “Surrealism had run its course. You have to grow up eventually, I guess. Death is real. Ordinary life is too powerful.” Through an arduous journey searching supposedly haunted forests and cities where he doesn't speak the language, Miles tries to unlock the mystery of what happened to Bafdescu but really yearns to understand what happened to his idea of himself. In doing so, Miles Allinson says something special in this novel about time, self-perception and art's ability to connect the present and past.

The International Dublin Literary Award 2016 Shortlist

I know I’ve been posting a lot about book prizes recently, but I was very intrigued to see the shortlist for this prize posted this week as it’s a really fascinating list and a very special literary award!

The Dublin Literary Award (formerly the IMPAC Award) is unique in many ways. Firstly, it’s an award presented annually by Dublin City Council to a novel written in English or that’s been translated into English. Quite exciting that a major literary award recognizes translated literature! Secondly, the prize is huge totalling €100,000 (if a translated novel wins, the author receives €75,000 and the translator €25,000). Four books on the shortlist are translations so it’s great to know that both author and translator will be rewarded so lucratively if their book wins. Finally, nominations for the award are made by over 400 libraries from major cities all over the world. Yes, librarians make up the nominations for this prize! And they know good books so you know the initial enormous longlist selection is all quality.  

I’ve read four of the ten books on the shortlist. Marlon James’ “A Brief History of Seven Killings” is such an epic, complex novel about several people surrounding an attempted assassination of Bob Marley. Definitely a challenging read, but so worthwhile! It is probably one of the best known on the list as it won the Booker Prize, but I was delighted to be on the panel of judges for the Green Carnation Prize last year where we also selected it as our winner. Mary Costello’s “Academy Street” is a brilliantly compact tale of a woman’s life from her Irish roots to her later years living in NYC. Jenny Offill’s “Dept. of Speculation” has such a powerful voice and unique perspective on relationships that it’s a book I often think back on now and then still puzzling over its meaning. “Lila” by Marilynne Robinson was absolutely one of my favorite reads of last year. Its protagonist is so strong-willed, yet vulnerable and someone who fearlessly forges her own identity far from her impoverished beginning in life.

Of the other six titles shortlisted I’m most interested in reading Jenny Erpenbeck’s “The End of Days”, Scholastique Mukasonga’s “Our Lady of the Nile” and Javier Cercas’ “Outlaws”. How about you? Have you read any on the list or are they any you're interested in reading?

The winner is announced on June 9th.