Books : Fiction : Contemporary Fiction: 1970 Onwards : Authors A-Z : S

The Notebook

Nicholas Sparks

"Somewhere," muses Noah Calhoun, while sitting on his porch in the moonight, "there were people making love." Anyway, head elsewhere for Great Literature, but if you're in the market to get your heartstrings plucked, look no further. The Notebook, a Southern-fried story of love-lost-and-found-again, revolves around a single time-honored romantic dilemma: will beautiful Allison Nelson stay with Mr. Respectability (to whom she happens to be engaged), or will she hook up with Noah, the romantic rascal she left so many years ago? We're not telling, but you have two guesses and the first one doesn't count. Decades later, after Allison develops Alzheimer's, her beau uses "the notebook" to read her the story of the great love she's plumb forgot. The Notebook--film rights already sold, thank you very much--is a little glazed doughnut of a book: sticky- sweet, satisfying, not much nourishment. But who cares? Take an extra vitamin and indulge.
Testimony

Anita Shreve
Nights in Rodanthe

Nicholas Sparks
Blindness (Panther)

Jose Saramago
The Quest

Wilbur Smith
The Village Green Affair (Turnham Malpas 13)

Rebecca Shaw
The Reader

Bernhard Schlink

Originally published in Switzerland and gracefully translated into English by Carol Brown Janeway, The Reader is a brief tale about sex, love, reading and shame in post-war Germany. Michael Berg is 15 when he begins a long, obsessive affair with Hanna, an enigmatic older woman. He never learns very much about her and when she disappears one day, he expects never to see her again. But, to his horror, he does. Hanna is a defendant in a trial related to Germany's Nazi past and it soon becomes clear that she is guilty of an unspeakable crime. As Michael follows the trial, he struggles with an overwhelming question: what should his generation do with its knowledge of the Holocaust? "We should not believe we can comprehend the incomprehensible, we may not compare the incomparable... Should we only fall silent in revulsion, shame, and guilt? To what purpose?"
The Reader, which won the Boston Book Review's Fisk Fiction Prize, wrestles with many more demons in its few, remarkably lucid pages. What does it mean to love those people--parents, grandparents, even lovers--who committed the worst atrocities the world has ever known? And is any atonement possible through literature? Schlink's prose is clean and pared down, stripped of unnecessary imagery, dialogue and excess in any form. What remains is an austerely beautiful narrative of the attempt to breach the gap between Germany's pre and post-war generations, between the guilty and the innocent and between words and silence. --R Ellis, Amazon.com
The Prime of Miss Jean Brodie (Penguin Modern Classics)

Muriel Spark
A Good Woman

Danielle Steel
The Seventh Scroll

Wilbur Smith
Forgive and Forget

Patricia Scanlan
River God

Wilbur Smith
Rogue

Danielle Steel
Austerlitz

W.G. Sebald

WG Sebald's Austerlitz has something of the fractured narrative and wanderlust of his novels The Emigrants and The Rings of Saturn, and continues to develop their obsession with history, loss and memory--or more precisely in this case, forgetting. In the decade since the original German publication of Vertigo, Sebald has established himself as indisputably one of Europe's most interesting and lauded writers.
In 1967, the narrator bumps into a man in the salle de pas perdus of Antwerp's Central Station. Thus begins a long if intermittent acquaintance, during which he learns the life story of this stranger, retired architectural historian Jacques Austerlitz. Raised as Dafydd Elias by a strict Welsh Calvinist ministry family, it is only at school that Austerlitz learns his true name--and only years later, by a series of chance encounters, that he allows himself to discover the truth of his origins, as a Czech child spirited away from his mother and out of Nazi territory on the Kindertransport. He returns to confront the childhood traumas that have made him feel that "I must have made a mistake, and now I am living the wrong life."
In this writer's hands, Austerlitz's tale of personal emotional repression becomes a metaphor for Europe's smothered past. Sebald wittily explores the tricks of time and space, unearthing Europe as an unconscious palimpsest. Delighting in lists and unfeasibly lengthy descriptions, Sebald can turn anything to poetry--even the alleged health benefits of Marienbad's Auschowitz springs become "a positive verbal coloratura of medical and diagnostic terms" (luckily, all his characters seem to be able to hold forth this way). Indeed, Sebald writes with such preternatural lucidity that even a harrowing account of writer's block ironically becomes a celebration of his own quite clearly unblockable virtuosity.
At heart, though, Austerlitz is a serious indictment of modern Europe's "avoidance system", its repeated patterns of personal and institutional forgetting that, even within Austerlitz's own lifetime, have contrived to obscure, ignore and render irretrievable his past and the source of his pain. And yet, despite the bleakness of that picture, the book ends with its hero--and its readers--committed to trying, at least, to remember. --Alan Stewart
Perfume: The Story of a Murderer

Patrick Suskind
Timebomb

Gerald Seymour
Liver: A Fictional Organ with a Surface Anatomy of Four Lobes

Will Self
The Quiet American

Graham Greene
Warlock

Wilbur Smith

Wilbur Smith (a name synonymous with the massive blockbuster thriller) has recaptured the verve and impact of his earlier work in Warlock. This Egyptian epic thriller follows on from the equally accomplished River God and The Seventh Scroll and re-establishes Smith at the top echelons of thriller writing. The customary continent-spanning canvas is here, with a key new element in an adroitly handled supernatural aspect that gives the sequence the feel of fantasy whilst still retaining the plausibility that was always Smith's strongest asset.
The reader is plunged into a vividly realised evocation of life in ancient Egypt but one presented with insights into the various characters that infuse a very contemporary feel. In the secluded deserts of North Africa, Taita has spent the years since the death of his adored Queen Lostris studying to become a Warlock, steeped in the arcane arts of the ancient Gods and a master practitioner of magic. Responding to an occult summons, Taita abandons the desert and returns to civilisation, only to find himself at the centre of a massive conflagration in which dark and sinister forces are undermining the throne of Egypt and attempting to destroy the young prince Nefer. Soon, his hard-won skills are tested to the limit.
As in the previous books in the sequence, Smith knows that a strong and passionate agenda on the part of his protagonists will allow the reader to identify with them, despite the gap of centuries. Here, it is family ties: Taita is defending the young prince who is the grandson of his lost Queen, and we are quickly engaged in a narrative that rarely flags over its considerable length. The action set pieces are as impressive as one would expect:
The instant he was within range the Cobra struck again, but Nefer caught the blow on the thick leather folds of the bag. The beast's fangs snagged in the leather and held fast. As Nefer swung back the snake was dragged with him. It was hauled cleanly out of the nest, a writhing, seething ball of coils and polished scales. It thrashed against Nefer's legs, the heavy tail lashing him, hissing fearsomely, clouds of venom spraying from its gaping jaws and dribbling down the leather bag. So great was its weight that Nefer's whole body was shaken violently.
--Barry Forshaw
White Teeth

Zadie Smith

Epic in scale and intimate in approach, White Teeth is an ambitious novel. Genetics, eugenics, gender, race, class and history are the book's themes but Zadie Smith is gifted with the wit and inventiveness to make these weighty ideas seem effortlessly light.
The story travels through Jamaica, Turkey, Bangladesh and India but ends up in a scrubby North London borough, home of the book's two unlikely heroes: prevaricating Archie Jones and intemperate Samad Iqbal. They met in the Second World War, as part of a "Buggered Battalion" and have been best friends ever since. Archie marries beautiful, buck-toothed Clara, who's on the run from her Jehovah's Witness mother, and they have a daughter, Irie. Samad marries stroppy Alsana and they have twin sons: "Children with first and last names on a direct collision course. Names that secrete within them mass exodus, cramped boats and planes, cold arrivals, medical checks."
Big questions demand boldly drawn characters. Zadie Smith's aren't heroic, just real: warm, funny, misguided and entirely familiar; reading their conversations is like eavesdropping. A simple scene, Alsana and Clara chatting about their pregnancies in the park: "A woman has to have the private things--a husband needn't be involved in body business, in a lady's ... parts."
Samad's rant about his sons--"They have both lost their way. Strayed so far from what I had intended for them. No doubt they will both marry white women called Sheila and put me in an early grave--acutely displays "the immigrant fears--dissolution, disappearance" but it also gets to the very heart of Samad.
White Teeth is a joy to read. It teems with life and exuberence and has enough cleverness and irreverent seriousness to give it bite. --Eithne Farry