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The 2018 Man Booker Prize shortlist has been announced!

The six authors shortlisted for the prestigious Man Booker Prize have been announced!

First awarded in 1969, the Man Booker Prize is recognised as the leading prize for high quality literary fiction written in English.

This year’s list features four female writers, among which the 27-year-old British debut novelist Daisy Johnson – the youngest writer ever to be in reckoning for this £50,000 literary award.

The six authors, of which three are from the UK, two American and one Canadian, vying for this esteemed award are as follows:

Anna Burns (UK) for Milkman

Esi Edugyan (Canada) for Washington Black

Daisy Johnson (UK) for Everything Under

Rachel Kushner (US) for The Mars Room

Richard Powers (US) for The Overstory

Robin Robertson (UK) for The Long Take

The winner will be announced on Tuesday 16th October in London’s Guildhall.

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Win a copy of Nthikeng Mohlele's Rusty Bell and Small Things

Nthikeng Mohlele is one of the most accomplished authors South African literature has to offer. His work has received much praise from literacy critics, culminating in his last novel Pleasure winning the 2016 University of Johannesburg Main Prize for South African Writing in English as well as the 2017 K. Sello Duiker Memorial Prize at the South African Literary Awards.

Rusty Bell and Small Things introduce readers to his earlier work and give those already familiar with his work a chance to complete their Mohlele collection.

Rusty Bell

‘An intimate and effortless philosophical work that establishes Nthikeng Mohlele as, undoubtedly, one of our generation’s finest novelists.’ – Eusebius McKaiser

‘I wrestled with life and lost.’

So begins the story of Michael, a corporate lawyer known to his colleagues and associates as Sir Marvin, who picks his way – sometimes delicately but more often in his own blundering fashion – through the unfathomable intricacies that make up a life: love and anger, humility and ambition, trust and distrust, selfishness and selflessness.

Small Things

‘Behind this story of love, music and the eternal quest lies an artistic sensibility as generous as it is complex. The prose is rich in texture, the final effect melancholy and comic in equal proportions.’ – JM Coetzee

In this haunting tale of love and learning, the existential chaos of a life ravaged by circumstance takes on a rhythm of its own, one bound by loss and loneliness but also an intelligent awareness of self. Sometimes melancholy, sometimes brutal, occasionally funny and infuriating, a journalist-comrade-lover caught up in the shade and shadow of politics and social injustice faces treachery and betrayal on every level.

Nthikeng Mohlele was partly raised in Limpopo and Tembisa Township and attended the University of the Witwatersrand, where he obtained a Bachelor of Arts in dramatic art, publishing studies and African literature. He is the author of four critically acclaimed novels: The Scent of Bliss (2008), Small Things (2013), Rusty Bell (2014), Pleasure (2016) and Michael K (2018). In 2016 his book Pleasure won the University of Johannesburg Main Prize for South African Writing in English as well as the 2017 K. Sello Duiker Memorial Prize at the South African Literary Awards. It has also been long listed for the International Dublin Literary Award.

Three copies of both Rusty Bell and Small Things are up for grabs! To enter, simply answer the following question: Which local publishing company recently republished Rusty Bell and Small Things? Mail your answer to our editor, Mila de Villiers, before Thursday, 27 September (17:00): mila@book.co.za

The Scent of Bliss

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The Scent of Bliss by Nthikeng Mohlele
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EAN: 9780795702761
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Small Things

Small Things by Nthikeng Mohlele
EAN: 9781431426638
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Rusty Bell

Rusty Bell by Nthikeng Mohlele
EAN: 9781431426645
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Pleasure

Pleasure by Nthikeng Mohlele
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EAN: 9781770104853
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Michael K

Michael K by Nthikeng Mohlele
EAN: 9781770104792
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Book Bites: 16 September

Published in the Sunday Times

PontiPonti ***
Sharlene Teo, Picador, R285

In 2003, Szu Min lives shyly in the shadow of her beautiful mother Amisa Tan, a former B-movie actress and her Aunt Yunxi, who works as a medium. In 2020 Szu’s childhood friend Circe is put in charge of the media blitz for the remake of the 1970s horror film Ponti, in which Amisa plays the leading role. This drives Circe to reconsider her friendship with Szu Min and its bitter end. Split between several decades as well as Circe, Szu and Amisa’s perspectives, Ponti is a quietly tragic and slow-moving read exploring grief, abandonment and broken loyalties in Singapore. Though Teo’s debut is atmospheric in language and setting, it fails to satisfy in its resolution. Efemia Chela @efemiachela

A Double LifeA Double Life *****
Flynn Berry, Weidenfeld & Nicolson, R285

Lord Lucan’s disappearance in 1974 still fascinates true-crime aficionados. Berry’s story is told from the point of view of Claire, a London GP who has lived under a new name since her father vanished. Names and dates have been changed in this fictionalised tale but the crime in the novel mirrors the real case: in his absence a court found Lord Lucan guilty of murdering a servant. In this version eight-year-old Claire finds the body of her au pair and still bears the emotional scars. Berry flips between past and present as Claire pursues the only course of action that will free her from her father’s shadow. Sue de Groot @deGrootS1

The Chalk ManThe Chalk Man ****
CJ Tudor, Penguin, R175

If Stephen King and the Duffer Brothers (Stranger Things) had a British love child, her name would be CJ Tudor. The Chalk Man is spine-tingling and deliciously macabre; Tudor spins a tight yarn with remarkable constraint. A gang of pre-teens ride their bikes around town causing mischief when one day they stumble upon a body in the woods. There’s a strange new teacher who coaxes them into playing with chalk, and every time someone dies, creepy chalk men appear near the murder scene. Nothing is as it seems, and everyone seems to be nursing a secret. Right up to the very last page, The Chalk Man thrills and simultaneously terrifies. Anna Stroud @annawriter_

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In an exclusive interview, Kate Atkinson talks to Michele Magwood about spying, Brexit, and World War II

Published in the Sunday Times

Transcription ****
Kate Atkinson, Doubleday, R290

Kate Atkinson was immersed in the National Archives in London when a set of documents caught her eye. Part of one of MI5’s periodic releases of historical records, they concerned a WW2 agent with the code name “Jack King” who infiltrated fascist circles. He posed as a Gestapo agent and would meet members of the so-called “fifth column” in an innocent-looking flat with hidden recording devices. Next door a junior agent transcribed the meetings.

On the telephone from the UK Atkinson describes how it sparked the idea for the new novel.

“I have to have a title before I can even think about a book, so as soon as I’d read those transcriptions I had it. And then I looked up the OED definition and found it is also a word for broadcasting so it fitted perfectly, because I wanted to write about the BBC in wartime.”

Atkinson’s last two books Life After Life and A God in Ruins – both winners of the Costa Prize – were set in World War 2 and she’s nowhere near done with it yet.

Transcription is a story about ambiguity and duplicity, about idealism, loyalty and the lifelong price of those.

Juliet Armstrong is just 18 and an orphan when she is recruited by the secret service in 1940.

Initially she is the typist who transcribes the interviews taking place in the flat next door. She’s a sharp young woman with a delightfully derisive interior voice: for example, her boss is describing the fifth columnists. “Our own home-grown evil … instead of rooting them out the plan is to let them flourish – but within a walled garden from which they cannot escape and spread their evil seed.” A girl could die of old age following a metaphor like this, Juliet thought. “Very nicely put, Sir,” she said.

“I never design a character,” says Atkinson. “I write very, very slowly at the beginning of a novel and that helps to get into that interior voice. I’m inside their heads. But I don’t construct them – they simply exist. I don’t understand the neurological process, the imaginative process that helps that to occur.”

Juliet is not particularly ambitious, she is more interested in romance and going to dance halls, but her boss promotes her to undercover agent. At first she thinks it is a bit of a lark but it quickly becomes deadly serious and she learns, appallingly, what the consequences of espionage can be. As the book moves forward to 1950 and even further to 1981, we wonder whether she can ever be free of the war.

“I’m really interested in the postwar period,” Atkinson explains, “the 10 years after the war. It was so dingy and hard, there was no sense of euphoria, no money, no food still.”

Romanian actress Nadia Gray in the BBC studios, London, England, December 14 1950. Picture: Underwood Archives/Getty Images.

 
Juliet goes to work for the BBC where she produces nostalgic history programmes for children. It’s a safe and uneventful life, until the intelligence services reel her in for one last job.

Atkinson is bemused by the prevailing Brexit jingoism, the idea of a brave Great Britain standing proudly alone in the war.

“I think the war makes us very nostalgic, and let’s not forget that our view of the war is filtered through the propaganda of the time: the Blitz spirit and so on. When in fact crime rates rocketed, illegitimacy rocketed, people complained a lot. Everything was destroyed. Also, we fought for Europe and now we want to let it go, that to me is slightly mystifying.”

Is there more to be revealed from archives?

“Yes, I think there is. The MI5 and secret service archives are sealed – it’s not like the public records where everything gets released after 40 or 50 years – they only release to the public what they choose to, so I imagine there’s a great deal more. But in a way it was an untried service in the war. They were still learning. When you think about what it must be like now, just the technological aspect of what they must be doing, we really don’t know.

“But we don’t know what we don’t know, do we?” @michelemagwood

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Fiction Friday: read chapter one of Vernon Head's A Tree for the Birds

In this long-awaited follow-up to his international success, The Search for the Rarest Bird in the World, Vernon Head once again reveals his mastery of the genre of nature writing. This time with a novel, A Tree for the Birds. In this remarkable book, Head captivates and enchants us as he tells of the adventures of Chrisnelt, Chaminda and Pastor Kadazi as they navigate deep into the mysterious world of the Congo River, the Great Dancing Road.

This story of a boy’s quest contains an urgent ecological message: a plea to break down the boundaries that humans impose on the world and to reconnect with the eternal, life-sustaining cycles of nature. Head offers a novel of profound beauty. Set in the heart of Africa, this powerful story at the edge of damnation bends a reflection of all of us through the eyes of a birdwatcher who sees wings fly like escaping leaves on streams of eternal water and air for all.

The book reveals Head’s deep love for nature and his penetrating and startling way of seeing birds. This story will fascinate birdwatchers, twitchers, bird lovers and birders-in-training alike.

Chapter One

The rain came to Chrisnelt as the softest stars, large drops landing in the street of dust. His imagination took each drop into his heart, bouncing and glittering in every colour. He counted the seconds between drops. He counted the drops becoming muddy dents and swelling brown circles in the sand. The patterns were slow and rhythmical, a breathing thing of delight. He began to run in leaping arcs below the heavens, his little arms outstretched, his thin fingers splayed like feathers and his pink nails twinkling. Around the tree he went in gentle wetness toward happiness, as only seven-year-old boys can go. And his long shadow rippled upon footprints and across the old walls of rust in a tail of joy. He laughed, following the spoor-line of his best friend, who was no longer on the ground, but now high in the middle of the brightest mango tree.

The tree was the only greenness in that world of corrugated iron and homemade bricks the colour of burnt earth: the rancid hue of soils passed through the bowels of an insect.

A tropical street in the late afternoon is often cooler than a house in those parts. The mists from the River at the edge of the City found their way between houses, up alleyways, over roofs and into the wide streets, whereas houses simply held heat. And so it was always good to have a veranda: a place that gave shade and a wooden stool or two. There were intermittent verandas along the street. Each was fringed with palm fronds held on the arms of ancient treetrunks bleached like bones, standing rhythmically and pattering swathes of shadow here and there in the dust. Wood had become scarce, no longer coming from the forest, a forest that seemed to get further and further away with the passing of every season. All the houses were very low, some sagging, some swelling at the sides as the dry walls crumbled, like rising ribs revealing lungs.

Chrisnelt’s street was a typical street, his house a typical house, although one of the few to have a wooden deck below the overhang of the veranda, and the only house to host bats in the eaves near the front door, swinging like little black flags of welcome. The Malotikas loved bats, as they loved all wild things; it was just their way. Mainly, it was Mr Malotika’s way, since his youth far up the River. Along the house-fronts on both sides of the street lay concrete culverts filled with sewage, flowing with flies. Dogs drank occasionally from these edges, as did the little birds after bathing in hot sand that seemed to bubble. Below the house, buried like a corpse under the linoleum, lay the hard mud of a previous house made by unknown owners, and below that, the crushed pieces of a forest that was now charcoal.

Yet within the dirt, and deep inside all the browns – as with anything fertile – lay hope and life, and the unknown. From a street of hardened sand near Chrisnelt’s house – a two-minute sprint for an energetic child with big feet and eyes filled with notions – a marvel of leaves had slowly pushed up to the sky, or so his father told him. The mango tree had arrived unobserved by almost everyone, a relic (all seeds are relics) from a meal once tossed as waste.

With unfathomable resilience, it had fought its way to the light, shaped by goodness, looking for a future away from the darkness cast by walls; avoiding rush hours of storming feet, dodging the sacks of charcoal dragged monthly by tired men to the sooty doorways, and bending deftly away from the wheels of wooden carts. Once it had been trampled by a stumbling drunk who vomited upon its first leaf, and twice pissed on by a dog. It always bounced back. It knew only to rise, and to continue rising, constant, instinctive, on the route that all trees take: the profound stretch toward the inevitable edge of the sky – or so Chrisnelt was told by his father. And as it went up, so it went down, great roots singing all the time as they drank, down into the vast depths that held the song of the River, which, in turn, held everything else. Eventually the tree grew beyond harm – higher than the tallest man, with a trunk fatter than any belly – and became part of the street: a wild thing from nature finding a place in the City of shading walls. Chrisnelt remembered this story very often.

Once, during a particularly hot summer, sitting under the tree with his best friend No, soft pollen fell on his feet. Then they heard whistles coming from above; undulating, battling within the grinding from old trucks, and under the honk of taxi-cars, and below the shrieks and moans of wandering people. The whistles came from inside the tree’s tiny flowers, and they made a poem, a private lullaby for this special boy and his friend. Chrisnelt and No seemed to be the only people to hear it: the buzzing wings of insects and the rattling legs of ants that shone like glass. The sprays of creamy flowers erupted in waterfalls right before their big gazes. Glistening creatures from the world of feelers, carapaces and pincers came to feed, playing on twirling leaves and dangling petals of scent, alive in all their senses. And everything swelled into bulbous green, blushing finally into red, becoming the gift of fruit.

Chrisnelt’s laughter became louder, intermittent giggles bursting out in between and here and there, every time he had a deep thought. He pranced and ran, being sure to plant each foot in the prints made by No. The summer raindrops – as it is in the tropics – continued to dance with him, bouncing and ululating. One by one they came down, some tickling his cheeks, some dribbling off his pointy chin, some hesitating, clinging to him like friends do. His thin shadow, and the thick shadow of the tree, held hands as he circled it again and again. He circled some more. Everything glistened. His wide eyes glowed. ‘I’m a bird and I’m looking for a tree!’ he said at the top of his voice.

No had loved birds since he could first crawl, watching them on the veranda in all their intricate colours. He would lie next to Chrisnelt there, spitting bits of masticated corn at the sparrows that looked like tiny toys, the birds hopping closer and closer, often sitting on his outstretched fingers, once even on his nose. No loved birds so much, he squeaked and chattered like them before he could talk. And when he could walk, he flapped like them too. Chrisnelt learned to love them as well. He loved everything No loved. The love was wild and true like wilderness.

‘If you close your fingers tightly and point your arms, you can make wings and fly like a fast pigeon ah, with all its colours. And if you wiggle the tips you can dive like a sparrow,’ said No to Chrisnelt on a quiet day, watching a distant flock of white birds against a white cloud.

‘You can’t fly like me yet Chrisnelt ah, I have already taken off into the sky up here,’ said No (pronounced Noh, with the ‘h’ floating off the tongue). No always wanted to be first. Chrisnelt would have the idea, No would then take the lead. He was very brave. Chrisnelt would often hide behind that bravery. They had been neighbours since birth. They’d shared the adventure of standing for the first time, holding each other up, with a single gurgling cry. It had been a grand day back then for both families; the parents had clapped and the two boys had fallen into each other’s arms, the strong arms of No, the weak arms of Chrisnelt: four legs and one fat body of folds wobbling on the green linoleum floor.

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Beautifully written and thoroughly enjoyable - Margaret von Klemperer reviews Maya Fowler's Patagonia

Published in the Witness: 10/09/2018

On the title page of Patagonia the novel is subtitled “A Fugue”, a piece of music introduced by one voice or instrument and taken up by others, and that is exactly how Maya Fowler’s excellent tale is structured.

Tertius de Klerk is an incompetent university lecturer whose career has stalled, and whose marriage to the feisty Alta seems to be zooming towards the rocks. Whatever he tries to do is doomed as, hapless and inarticulate, he totters from one minor disaster to another – until the day he gets drunk and falls into bed with a student.

The ensuing catastrophe is bigger than anything he could have imagined.

Tertius is not the quickest thinker you will ever meet in fiction, but in a panic he decides to head for Patagonia, the remote South American region where various Boers headed after the Anglo-Boer war, hankering for wide open spaces and no British bullies. He has some remote, unknown relatives there, and maybe they will help him – or at least shelter him.

The next character we meet, back in the early 19th Century, is Basjan, Tertius’s great-grandfather, also escaping to Patagonia, though not for quite the same reasons as the other travellers he is with: he has plenty to hide.

And then we encounter the other two voices in this fugue -– Tertius’s wife Alta who has no intention of letting her errant husband off lightly and is in hot pursuit of him and Salome, tough, desperate and pregnant who is hunting down Basjan. The men are running away while the women are on a quest. Perhaps Patagonia stands as a metaphor, for an escape on the one hand, a hunt on the other.

But that makes the novel sound altogether too serious.

Fowler writes beautifully – her descriptions of the four journeys and the empty aridity of the southern tip of South America are riveting, while Tertius’s encounter with his cousin Alejo who lives on a remote dilapidated farm and speaks a deliciously fractured language is hilarious.

There are serious themes in Patagonia that will stay with the reader, leaving things to ponder after the book is closed, but the rake’s progress of the four main characters on their disparate journeys is hugely entertaining. A thoroughly enjoyable read.

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