Reviews round-up

The critics' verdicts on Deborah Levy, Maggie O' Farrell and Harry Wallop.

Black Vodka by Deborah Levy

Alex Clark has high praise for Deborah Levy in the Guardian. She urges the reader not only to explore this “powerful...fragmentary...elliptical” collection of stories, but the rest of its author’s work, which includes the Booker short-listed novel Swimming Home, and offers a “strange, unpredictable journey”. Black Vodka contains a compendium of Levy’s distinctive traits. In "Cave Girl", Cass undergoes a successful sex change from male to female. "[The surgeon] really fiddled with my controls”, she says, and her brother finds himself entranced by the result. In ‘Pillow Talk’, (Clark summarises) “a Czech man living in London is interviewed in Dublin by a Japanese man, before having casual sex with a woman from Cork and then flying home to his Jamaican-born girlfriend.” Clark is continually impressed by these provocative identity games in which “national and cultural identity is used as a prism through which to explore shifts of attachment and belonging”. Even “what constitutes a person” becomes difficult to determine. Clark concludes by noting that “like their protagonists, these stories do not give up their secrets easily”, before assuring us that they are nonetheless “by no means difficult to understand”. Ought we to detect a hint of damning with faint praise here? Perhaps so, but the thrust of Clark’s review is clear nonetheless: this collection comes highly recommended.

In the Independent, Lucy Popescu identifies love as a key theme. In Black Vodka, she writes, love “is mystifying, at worst illusive”. The title story involves a relationship which cannot last, yet its mere “promise of love” unsettles the protagonist, who wakes after a fantastical though personal dream with tears on his cheeks, “transparent as vodka but warm as rain”. But whether depicting love, grief or the collision of cultures, Levy’s “elegantly conceived and executed stories” create “an array of intense emotions and moods in precise, controlled prose”, economic and imaginative enough to propel this hypnagogic collection toward nightmare. Popescu cannot help note a particularly farcical topicality which creeps into one of the stories: “one character recalls eating horse steaks in Paris: ‘It was like eating a unicorn in the 21st century’”.

Black Vodka was reviewed by Catherine Taylor in the New Statesman earlier this year.

Instructions for a Heat Wave by Maggie O'Farrell

“Strange weather brings out strange behaviour...” Maggie O’ Farrell’s latest novel addresses the issue of brittle family structures through a captivating story centered on an Irish family, the Riordans, in London enduring the heat wave of summer 1976. 

O'Farrell examines a family structure that is fragmented by tradition and rebellion, narrating the complex lives lead by each of its members. The Guardian’s Lucy Briscoe describes this as “a brilliant dissection of different generation’s attitudes towards the same predicament”. Charlotte Heathcote, in the Express writes that “weaving through all of these life stories is Gretta [Riordan]'s obsessive Catholicism. None of her three children are religious, much to her despair, but it turns out that she is less ‘holier-than-thou’ than she can even admit to herself.”

Heathcote elaborates on the effect of the heat wave upon the Riordans as they console Gretta. “As Gretta's three children congregate at their childhood home…skeletons are dragged out of cupboards, festering wounds are exposed to the air and the job of Michael Francis, Monica and Aoife is not made easier by a mother who likes her truth whitewashed and sanitised.”

Whilst Heathcote and Briscoe concur in their verdict that the novel does not disappoint, the Independent’s Leyla Sanai is somewhat bemused by O’Farrell’s conclusion, which she describes as a “Hollywood ending.” She does, however, praise O’Farrell’s writing as “deliciously insightful,” acknowledging her abilities in “observing the dynamics of relationships and astutely filleting them to the bone.”

Consumed: How Shopping Fed the Class System by Harry Wallop

Harry Wallop’s humourously written study into British consumer habits reveals the correlation between these choices and the construction of our identities. The Guardian’s Ben East states: “It might be obvious, but buying a 'fabulously British' Jack Wills polo shirt in Southwold immediately marks you out as different from the bling-obsessed young mum who frequents a retail park to buy a bright pink Paul's Boutique purse.”

With labels like “The Asda Mum,” The Middleton Classes” or “The Portland Privateer” (the latter used to describe the wealthy banking population’s preference to give birth to their in this prestigious private hospital), it is no wonder East is quick to conclude that, despite the ”achingly true observations,” Wallop’s book “serves only to reinforce existing stereotypes.”

The Telegraph’s Toby Clements writes that Wallop’s designations have evolved as sub-groups of the older upper, middle and working classes. Clements finds Wallop’s study a “breezy, enjoyable study” reinforced by “arresting research into our shopping habits”.

Deborah Levy with her Man Booker Prize-shortlisted novel Swimming Home (Photo: Getty Images)
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Casting the Brexit movie that is definitely real and will totally happen

Details are yet unclear as to whether The Bad Boys of Brexit will be gracing our screens, or just Farage's vivid imagination.

Hollywood is planning to take on the farcical antics of Nigel Farage et al during the UK referendum, according to rumours (some suspect planted by a starstruck Brexiteer). 

Details are yet unclear as to whether The Bad Boys of Brexit will be gracing our big or small screens, a DVD, or just Farage's vivid imagination, but either way here are our picks for casting the Hollywood adaptation.

Nigel Farage: Jim Carrey

The 2018 return of Alan Partridge as "the voice of hard Brexit" makes Steve Coogan the obvious choice. Yet Carrey's portrayal of the laughable yet pure evil Count Olaf in A Series of Unfortunate Events makes him a serious contender for this role. 

Boris Johnson: Gerard Depardieu

Stick a blonde wig on him and the French acting royalty is almost the spitting image of our own European aristocrat. He has also evidently already mastered the look of pure shock necessary for the final scene of the movie - in which the Leave campaign is victorious.

Arron Banks: Ricky Gervais

Ricky Gervais not only resembles Ukip donor Arron Banks, but has a signature shifty face perfect for the scene where the other Brexiteers ask him what is the actual plan. 

Gerry Gunster: Anthony Lapaglia

The Bad Boys of Brexit will reportedly be told from the perspective of the US strategist turned Brexit referendum expert Gerry Gunster. Thanks to recurring roles in both the comedy stalwart Frasier, and the US crime drama Without a Trace, Anthony Lapaglia is versatile enough to do funny as well as serious, a perfect mix for a story that lurches from tragedy to farce. Also, they have the same cunning eyes.

Douglas Carswell: Mark Gatiss

The resemblance is uncanny.

David Cameron: Andrew Scott

Andrew Scott is widely known for his portrayal of Moriarty in Sherlock, where he indulges in elaborate, but nationally destructive strategy games. The actor also excels in a look of misplaced confidence that David Cameron wore all the way up to the referendum. Not to mention, his forehead is just as shiny. He'll have to drink a lot of Bollinger to gain that Cameron-esque puppy fat though. 

Kate Hoey: Judi Dench

Although this casting would ruin the image of the much beloved national treasure that is Judi Dench, if anyone can pull off being the face of Labour Leave, the incredible actress can.