Reservoir 13 by Jon McGregor

Jon McGregor is an audacious writer. In an age where narrative in the most popular works of art often proceeds at a breakneck speed, he has chosen to defy this. Reservoir 13 (2017) is his first novel for thirteen years and like his debut novel, If Nobody Speaks of Remarkable Things (2002), it was longlisted for the Booker Prize. Reservoir 13 also won the Costa Novel Award for 2017. It managed this feat in spite of his use of the passive voice and the utter absence of dialogue in the novel.

Reservoir 13 begins with an apparent hook: a thirteen-year-old girl has gone missing in an unnamed Derbyshire village. 

Lullaby by Leila Silmani

Leïla Slimani’s second novel won the Prix Goncourt and became the most read book in France in 2016. Now translated by Sam Taylor, it is being marketed as this year’s Gone Girl.

Myriam and Paul are blissfully happy after the birth of their first child, but shortly afterwards “the clocklike perfection of the family mechanism jammed”. When Myriam, who is of North African descent, visits a childcare agency, she is assumed to be a prospective employee. 

The Mermaid and Mrs Hancock by Imogen Hermes Gowar

Before Imogen Hermes Gowar was a writer, she worked at visitor services for the British Museum. There she came across a rare and hideous artefact, a mummified monkey stitched to the tail of a fish. Fascinated, she plunged into the story that became her first novel, The Mermaid and Mrs Hancock. Thanks to a feckless captain, Jonah Hancock -- a merchant -- loses a ship but finds himself apparently in possession of a mermaid. Gowar wickedly evokes the brothels and coffee shops of Georgian London, abuzz with talk of this extraordinary creature. he impeccable period detail is brought to life by the sheer joy of Gowar’s prose in this bawdy, witty tale. And she has particular fun with Angelica Neal, a spoilt, spirited and highly accomplished courtesan. 

The End We Start From by Megan Hunter

The narrator of Megan Hunter’s moving first novel envisages for herself “a water birth, with whale music, and hypnotism, and perhaps even an orgasm”. The reality is, of course, different and she leaves hospital “barely intact”. The change wrought in her by new motherhood is echoed by a change in the world around her: a flood is threatening to engulf England, making the narrator, her partner and their new baby refugees. The claustrophobia of life with a newborn is intensified by the apocalyptic drama unfolding around them. Retreating to the rural home of her partner’s parents, the narrator refers to the “tiny cabin that has become our world”.

Meeting Elizabeth Jane Howard

I had read Slipstream (2002), the novelist Elizabeth Jane Howard’s brilliant – and apparently candid – memoir by the time I interviewed her in November 2013. It was less than two months before she died. I wondered what else there was to ask her: she had laid bare her disastrous first marriage to Peter Scott, son of the Antarctic explorer; her affair with Cecil Day-Lewis, whilst he was married to one of her closest friends; her acrimonious divorce from her third husband, fellow writer Kingsley Amis, and so much more.

Claire Messud: Craft and Fusion

I meet Claire Messud at the London Review Bookshop one sodden evening in September when she is London to promote her latest novel, The Burning Girl. Her normal speaking voice is gentle anyway, but tonight she is speaking particularly softly so as not to disturb book browsers in the shop’s basement. I’m conscious we don’t have much time, so ask her to explain the genesis of the book.

“Why this book now?” she asks.

“Yes, exactly.”

“Should I explain what the book is about?”

“Sure.”