The latest on books and the arts

RSS

Reviews round-up

The critics' verdicts on Julian Assange, Robert Harris and Richard Beard.

Julian Assange: The Unauthorised Autobiography

"Australian WikiLeaks founder Julian Assange, and part Scottish novelist and ghostwriter Andrew O' Hagan ... [have] given birth to an unfinished draft ... published before its maturity under the wacky title The Unauthorised Autobiography," writes David Leigh in the Guardian's review. "The lack of a final edit does ... disservices to Assange's story. The narrative stops too abruptly ... It's padded out ... with unnecessary chunks of the cables themselves, which can be read elsewhere." Leigh concludes that "These marsupial memoirs of his seem unlikely to increase [Assange's] prospects of becoming the messiah of the information age. Maybe, sadly, even the reverse."

By contrast, Lloyd Evans writes in the Spectator that "the author of this book ... [has] produced a compelling portrait of a brave, complex, difficult, brilliant and essentially humane individual ... Assange is not easy to like but his intellectual gifts, his moral courage and his carelessness of his own physical safety make him impossible not to admire."

James Ball, in the New Statesman's review suggests that Assange's "desire to lash out against his enemies ... drains much of the immediacy from the book." Ball concludes that "this is a flawed and fractured portrait of a flawed and fractured character. That, at least, is fitting."

The Fear Index by Robert Harris

Emmanuel Roman writes in the Guardian that "In ... Harris's latest thriller ... we are cast into the dystopic world of finance where nerdy hedge fund managers and their computers may be the modern embodiment of evil ... Computer programmes predict fear as a motivation, and ... [use] this information to short-sell stocks."

In the Scotsman, Stephen McGinty observes that Harris "calmly [lays] out ... that a man with a knife is ... nothing compared to the terror of knowing the true volatility and cluelessness of the current financial masters of the universe." Roman notes that the novel's "upshot may be about as believable as Jurassic Park but ... I may be overly familiar with what computers can and can't do."

McGinty describes Harris as "our literary Alfred Hitchcock ... Harris is a 'thriller writer', but in time his canon will be viewed as something far greater." Charles Moore, in the Telegraph, is similarly complimentary, finding The Fear Index "hugely enjoyable" and arguing that it has "a Dickensian potential for a great novel, even more thrilling than a thriller, about the way we live now." In the New Statesman's review, Alex Preston finds that The Fear Index delves "into the heart of a complex, abstract world without oversimplifying or seeming clunkingly didactic." Harris has "woven some fascinating subplots into the novel."

Lazarus is Dead by Richard Beard

In the Observer, Tom Lee writes that, "The Bible says almost nothing about the life of Lazarus before and after he was raised from the dead. Richard Beard's fourth novel sets out to elaborate on what we do know from the Gospel of John." Adrian Turpin writes in the Financial Times that the novel "impressively spins an entire life story. Lazarus and Jesus are childhood friends, fellow exiles in Egypt ... Beset by a series of illnesses, [Lazarus] needs a miracle, but Jesus fails to respond."

Lee finds that, "The characters remain more or less the archetypes of biblical tale or myth, without psychological specificity or depth" and "the narration retains a plain, almost remote, quasi-biblical style ... At times, it drops into an essay-like register." For Turpin, although the book is "hardly as 'genre-bending' as the publishers suggest ... [it is] clever and original ... [and] keeps the reader guessing until the death- and beyond."