Leo Robson notes that "the South Africa of today is seductive territory for a novelist" and demands a great deal of sensitivity when dealing with the complexities post-apartheid life. In this week's New Statesman, Robson reviews two new novels which attempt to do just that: Absolution by Patrick Flannery and No Time Like the Present by Nadine Gordimer. The former, he says, "builds up a glorious mosaic of forms, though some of the pieces are slightly chipped" as Flannery deals with a pervasive sense of nationwide guilt, whilst Gordimer's story of a couple trying to come to terms with life after aparteid struggle is rendered in "a bespoke style, at once rich and poor".
In the books interview, Sophie Elmhirst talks to Ben Okri about his new poetry collection, Wild. Okri speaks of his approach to writing as a dreamlike experience, and comments on the metaphysical elements to his work as "something that comes out of the African tradition".
Our critic at large this week is David Rothenberg; discussing the awe-inspiring elements of nature and its role in "aesthetic selection", he claims that the beauty of a peacock's wings is something which the study of genetics cannot necessarily explain: "Darwinians have tried to turn sexual selection into a subset of natural selection and they have done it by using a method based not on research but on faith". He writes that "any unified theory of evolution has to be able to appreciate beauty, without explaining it in such a way that its allure its lost".
Elsewhere In the Critics section: Richard Holloway on Roger Scruton's The Face of God, the Gifford Lectures; Amanda Craig on The Beginner's Goodbye by Anne Tyler; Ryan Gilbey on This Is Not a Film and Into the Abyss: a Tale of Death, a Tale of Life; and Rachel Cooke's take on Julian Fellowes's latest period drama, Titanic. Plus, Will Self's Real Meals.