Whatever You Love by Louise Doughty
"Whatever You Love is an incident-packed, emotionally fraught revenge tragedy," writes Susanna Rustin in the Observer. "Set at the English seaside and narrated by a divorced single mother who has just lost her nine-year-old daughter in a traffic accident... Doughty has crafted a subtle thriller." Rustin concludes, "her novel is emotionally raw, sexually frank, psychologically unpredictable."
For Jane Jakeman, writing in the Independent, "Doughty is a courageous writer, willing to explore deeper territory with each book." As with her previous works (Fires in the Dark, 2003; Stone Cradle, 2006) the testing of family relationships "lies at the heart of [the book], but her focus has intensified from group dynamics to the individual psyche."
"Extraordinary events in the final chapters work less well," opines Ophelia Field in the Sunday Telegraph, "forfeiting the reader's empathy both in terms of Laura's likeability and the plot's plausibility." Nonetheless, she concludes "Doughty is masterful at combining the texture of ordinary, smugly middle-class, contemporary life with the hidden cliff edges of violence and hatred."
Heartbreak by Craig Raine
"Based mostly in Oxford and London and in the worlds of academia and media", writes Edmund Gordon in this week's New Statesman of Raine's first novel, this diffuse story of 30 separate narratives "portrays a narrow cross-section of middle-class English society." A poet and critic, "Raine presumably hoped to fashion out of this material something like the free-form, philosophical novels of Milan Kundera", Gordon continues, but, to little success. "Raine appears to be indifferent as to whether the stories in Heartbreak work as fiction; their main purpose is to provide a supporting framework for his thoughts on various subjects."
"Like Kundera... the text is laconic and disjointed, structurally as well as semantically terse, made up of episodes that travel no more than a few pages," writes Terry Eagleton in the London Review of Books. But "what can seem to be genuine wisdom in the case of Kundera, however, is too often either smartass or banal in the case of Raine."
For Tim Martin, writing in The Telegraph, Raine's approach "is wholly excruciating... [featuring] frequent textual hijacks by tipped-in lit-crit essays, as well as authorial intrusions that veer between mock concern for the reader ("Am I going too fast for you?"), high-table daftness ("Crying has its own rhetoric. We need a poetics of crying") and a welter of passive-aggressive pointers on how to read."
"Compression of metaphor, the gift for seeing unexpected things in other things, is Raine's strong suit... It is what he has always been best at, [but] in an ill-judged moment, it breaks Heartbreak."
You can read Jonathan Derbyshire's interview with Craig Raine here.
Imperial Bedrooms by Bret Easton Ellis
Imperial Bedrooms is for Nick Garrard, writing in the Independent, "a kind of modern noir... Atmosphere is king. Paranoia prevails." A return to the disaffected, amoral Los Angeles characters introduced in his first novel Less Than Zero, Ellis's seventh work is another "dissection of the idle American rich."
"Clay [the protagonist of Less Than Zero] has doubled in age but voice-recognition software would have little trouble picking up his tense present," writes Mark Lawson in the Observer. "He now possesses not only money but a sort of influence, having become an outwardly successful screenwriter."
For Lawson, Ellis "has very much found his rhythm" in a dark and seedy tale of "sex... booze and junk." "In terms of American literary inheritance, [the author] adds the playful self-advertisements of Philip Roth to the ambiguously complicit social reportage of F Scott Fitzgerald; Imperial Bedrooms ranks with his best in the latter register, teeming with sharp details of a narcissistic generation."
For Erica Wagner however, writing in The New York Times, Ellis has "fallen flat" with this novel. "What starts off neat swiftly becomes pat, lazy and effortful all at once" she argues. "Like Martin Amis, Ellis still has a flair for such perfect, surreal description. But, again like Amis, he can struggle to set it in an effective context."