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)
BBC/Chris Christodoulou
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Proms 2016: Violinist Ray Chen was the star of a varied show

The orchestra soaked up his energy in Bruch's first violin concerto to end on a triumphal note. 

Music matters, but so does its execution. This was the lesson of a BBC Symphony Orchestra and BBC Symphony Chorus programme which combined both a premiere of a composition and a young violinist’s first performance at the Proms. 

The concert, conducted by Sir Andrew Davis, opened with Tchaikovsky’s symphonic fantasy The Tempest, a lesser-known sibling to his Romeo and Juliet overture. The orchestra got off to a fidgety start, with some delayed entries, but fell into line in time for the frenetic chromatic runs that drive the piece. The end, a muted pizzicato, was suitably dramatic. 

Another nature-inspired piece followed – Anthony Payne’s composition for chorus and orchestra, Of Land, Sea and Sky. Payne drew on his memory of watching of white horses appearing to run across water, as well as other visual illusions. At the world premiere, the piece began promisingly. The chorus rolled back and forth slowly over scurrying strings with an eerie singing of “horses”. But the piece seemed to sink in the middle, and not even the curiosity of spoken word verse was enough to get the sinister mood back. 

No doubt much of the audience were drawn to this programme by the promise of Bruch violin concerto no. 1, but it was Ray Chen’s playing that proved to be most magnetic. The young Taiwanese-Australian soloist steered clear of melodrama in favour of a clean and animated sound. More subtle was his attention to the orchestra. The performance moved from furious cadenza to swelling sound, as if all players shared the same chain of thought. Between movements, someone coughed. I hated them. 

Ray Chen in performance. Photo: BBC/Chris Christodoulou

Chen’s playing had many audience members on their feet, and only an encore appeased them. It was his first time at the Proms, but he'll be back. 

The orchestra seemed to retain some of his energy for Vaughan Williams’ Toward the Unknown Region. Composed between 1904 and 1906, this is a setting of lines by the US poet Walt Whitman on death, and the idea of rebirth.

The orchestra and chorus blended beautifully in the delicate, dark opening. By the end, this had transformed into a triumphal arc of sound, in keeping with the joyful optimism of Whitman’s final verse: “We float/In Time and Space.” 

This movement from hesitancy to confident march seemed in many ways to capture the spirit of the concert. The programme had something for everyone. But it was Chen’s commanding performance that defined it.