Reviews round-up

The critics' verdicts on Charlotte Mendelson, Daniel M Davis, David Shields and Shane Salerno, and Jhumpa Lahiri.

Almost English, Charlotte Mendelson 

Charlotte Mendelson’s fourth novel pivots precariously between tragedy and comedy, exploring the turbulent inner workings of an emotionally fragile mother – Laura – and her awkward daughter Marina. A coming-of-age story with a Hungarian tang, this Booker-longlisted novel has been receiving a mixed response from critics, who both admire Mendelson’s theatrics, yet criticise her sincerity.

Bella Bathurst, writing for The Observer, praises the sharp, cynical voice that governs Almost English, noting that the novel deserves to win the Booker “for the quality of the writing alone”. While impressed by the prose, Bathurst does find fault with the similar characterization of Marina and Laura, noting that although “the lack of differentiation between mother and daughter sometimes makes for comedy, [it] sometimes feels uncomfortably same-ish”. In a similar vein, The Independent’s Arifa Akbar criticises the pair’s lack of individuality, observing that “the often histrionic inner voice of the teenager sounds a little too similar to the often histrionic inner voice of the mother, which sounds peculiarly petulant for a woman of her years”.

Arifa Akbar writes in the Independent that it’s not just Laura and Marina who lack refined characterisation, but the whole cast of Almost English. “Characterisation of the eccentric brood of Hungarians feels two-dimension and generic,” writes Akbar, “they seem forever to be saying ‘Von-darefool’ as if accented English were a substitute for depth.” But aside from this, Mendelson is admired for her depiction of strained but intense teenage crushes: “Marina talks in the screeching language of teen love”.

The New Statesman's Claire Lowdon refigures what Akbar calls “generic” or “histronic” as a “Dickensian love of caricature and plot.” Lowdon identifies a shared purpose between Mendelson and the Victorian author, where “the comedy comes with a sting”, and acts as a “poignant counterpoint to all the rollicking social satire.” This “sting” however, is not always achieved and at points the humour is smothered by over-exaggeration. “Marina’s visit to the Viney country pile is hammed up, Guy’s snooty 17-year-old sister utter[s] such improbabilities as, ‘One becomes so protective…’” Initially appreciative of Mendelson’s larger-than-life characters, Lowdon is ultimately frustrated, concluding with the judgment: “if you are writing in the realist tradition, you can only exaggerate so far.”

The Compatibility Gene, Daniel M Davis

In The Compatibility Gene Davis popularizes the genetics of immunology, investigating how the genes of each human being determine relationships, health and individuality. Small clusters of our 25,000 genes, Davis argues, hold disproportionate influence over the human body. These clusters, as The Compatibility Gene explores, control tissue compatibility for transplants and are responsible for a healthy immune system.

Michael Brooks, writing for the New Statesman, praises Davis’ scientific storytelling, paying particular attention to his Darwinian vision of genetics: “As well as dealing with foreign tissue, the compatibility genes seem to influence our selection of biologically beneficial partners. It turns out that we look for complementary immune systems that enhance the chance of our offspring’s survival.” While Davis’ study offers optimism for a future where genetics is increasingly understood, Brooks is quick to notice a note of poignancy in Davis’ work. “Many more scientists are threaded through the pages of Davis’s thoughtful book and they all share one thing: the grinding heartbreak that is the slow progress of scientific discovery.” Nonetheless, concludes Brooks, “The Compatibility Gene is a fascinating, expertly told story of a field that may yield significant treasures in the decades to come”.

Peter Forbes in the Guardian also identifies Brooks’ “heartbreak”, noting how “Davis sugars the pill of exploring unresolved research by focusing on the lives of the researchers and their struggles.” In his review, Forbes highlights the problem of locating underlying principles in immunology, when exceptions are present in so many cases. Most diseases require more than a single defective gene, and this “makes the job of a populariser such as Davis doubly difficult.” But Forbes is satisfied with Brooks’ admission: “While many scientists would argue that a popular-level book like this one should stick to established decades-old ideas, my view is that nothing can be more exciting than what's happening at the edge of knowledge."

Davis in the Times offers personality to his readers as well as science. “Until recently, in everyday speech ‘Neanderthal’ was a stock term of abuse, meaning lumbering, out-dated, stupid”, notes Forbes. “Davis himself can't resist quipping: ‘I look forward to discussing my wife's Neanderthal inheritance with her family at our next Christmas lunch.” Nicola Davis in the Times comments on this readability, which allows for easy comprehension. She comments, “many of the early concepts tackled are fairly familiar but Davis’s readable narrative allows them to be seen afresh through the eyes of those who first probed such puzzles as the existence of blood groups or the very nature of disease.” For all readers of The Compatibility Gene, it is clear the more we find out about this science, the more complicated the science becomes. Nicola Davis doesn’t seem fazed, she remarks.

Salinger, David Shields and Shane Salerno

With a figure as aloof as J D Salinger any biography is likely to be alluring and problematic in equal measure. In their new work Salinger, David Shields and Shane Salerno, neither of whom are biographers, think they have the answers to this particular mystery. But despite nine years of research, 200 contributors and 175 photos, they have failed to impress the critics.

Christopher Taylor, writing in the Telegraph, is unconvinced and awards the book two stars. He doesn’t like the tone of the book and although he grants that it is “energetically researched and contains some notable scoops, it is non-Salingerian in spirit to an almost comical degree: over-emphatic, lurid Hollywood-infected”. All in all, Taylor deems the autobiography to be looking for a film-style “killer montage” rather than providing any sort of insight into Salinger’s relatively unknown life.

John Walsh, in the Sunday Times, however, was more complimentary, impressed especially by the scale of the work. He says “You take away two fascinating paradoxes from this hugely impressive, if not entirely revelatory project. One is Salinger’s creepy obsession with girls on the edge of adulthood... Second is his attitude to seclusion. For a man supposedly indifferent to fame, he monitored it obsessively, checking reviews of his work, ringing up journalists, turning up to interviews with pretty women, inviting people to his house, attending army reunions.“

Carl Rollyson in the Wall Street Journal points out the haphazard nature of the book: “Salinger is biography as scrapbook, chock-full of well-known figures and well-worn stories, with fresh information scattered about.” While Taylor was pleased by the amount of information, Rollyson finds it all too much, concluding “Biographies are often accused of not explaining enough. Here, however, is an example of one that tells us too much. The raw material in "Salinger" will need to be digested by yet another biographer. But the next book will need to be less thesis-ridden and more generous to the insights that other biographers contributed to our understanding of Salinger. We have waited so long to understand J D Salinger. We must wait longer.”

The Lowland, Jhumpa Lahiri

Jhumpa Lahiri’s second novel The Lowland, already longlisted for the 2013 Man Booker Prize, follows the story of two Calcutta brothers as their paths diverge after they go to university. While one becomes politically active and a Naxalite revolutionary, the other is more obedient and passive, studying oceanography in Rhode Island. The novel examines the political and the personal, set over nearly 50 years of Indian and American history.

Stephanie Merritt, writing in the Observer, gave the book a positive review, impressed by Lahiri’s “restraint and understatement. She resists lyricism, just as she avoids obvious drama.” Although she says that “perhaps Lahiri spreads her net a little too wide at times”, she ultimately concludes that “there is no doubt that The Lowland confirms Lahiri as a writer of formidable powers and great depth of feeling, who makes the business of conjuring a story from the chaos of human lives seem quite effortless.”

Randy Boyagoda of the Financial Times, however, was not so complimentary. He writes that “Jhumpa Lahiri would be a far better writer if she weren’t so bloody exquisite about her writing. The Lowland [...] is an ambitious multigenerational intercontinental drama, but also a symptom of its author’s success.” He finds the style too irritating for the novel to merit much praise, concluding “All of the intellectually listless contradictories share the novel’s pages with those tiny ants and the softness of kisses and many other maddeningly meticulous, pathologically decorous reflections on memory and identity and tea and biscuits and journeying and jasmine-picking and Googling. Booker or not, The Lowland is awash with Lahirical excess.”

Chandak Sengoopta, in the Independent was also unconvinced, again finding problems with the Lahiri’s style. While he lauds Lahiri’s character portrayal, commenting “the tragic family saga is certainly affecting and Lahiri, as always, is adept at portraying the lives of diasporic Indians without condescension”, Sengoopta feels the tragic impact of the novel is somewhat blunted: “The entire novel, in fact, has an emotionally detached tone that reduces the impact of the tragedy”. He concludes that “The Lowland chooses to be a novel about unfathomably dysfunctional people, and not the epic human tragedy it could easily have been.”

Jhumpa Lahiri. Photograph: Getty Images.

Book talk from the New Statesman culture desk.

Screenshot of Black Mirror's Fifteen Million Merits.
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How likely are the plots of each Black Mirror episode to happen?

As the third series is on its way, how realistic is each instalment so far of the techno-dystopian drama? We rate the plausibility of every episode.

What if horses could vote? What if wars were fought using Snapchat? What if eggs were cyber?

Just some of the questions that presumably won’t be answered in the new series of Charlie Brooker’s dystopian anthology series Black Mirror, somewhere between The Twilight Zone with an app and The Thick Of It on acid.

A typical instalment takes an aspect of modern technology, politics, or life in general and pushes it a few steps into the future – but just how plausible has each episode been so far?

Series 1 (2011)

Episode 1: The National Anthem

Premise: A member of the Royal Family is kidnapped and will only be released unharmed if the Prime Minister agrees to have sexual intercourse with a pig on live television.

Instead of predicting the future, Black Mirror’s first episode unwittingly managed to foreshadow an allegation about the past: Charlie Brooker says at the time he was unaware of the story surrounding David Cameron and a pig-based activity that occurred at Oxford university. But there’s absolutely no evidence that the Cameron story is true, and real political kidnappings tend to have rather more prosaic goals. On the other hand, it’s hard to say that something akin to the events portrayed could NEVER happen.

Plausibility rating: 2 out of 5

Episode 2: Fifteen Million Merits

Premise: Sometime in the future, most of the population is forced to earn money by pedalling bikes to generate electricity, while constantly surrounded by unskippable adverts. The only hope of escape is winning an X-Factor-style game show.

In 2012, a Brazilian prison announced an innovative method of combating overcrowding. Prisoners were given the option to spend some of their time on electricity-producing bikes; for every 16 hours they spent on the bike, a day would be knocked off their sentence.

The first step to bicycle-dystopia? Probably not. The amount of electricity a human body can produce through pedalling (or any other way, for that matter) is pretty negligible, especially when you take account of the cost of the food you’d have to eat to have enough energy to pedal all day. Maybe the bike thing is a sort of metaphor. Who can say?

Plausibility rating: 0 out of 5

Episode 3: The Entire History of You

Premise: Everyone has a device implanted in their heads that records everything that happens to them and allows them to replay those recordings at will.

Google Glasses with a built-in camera didn’t work out, because no one wanted to walk around looking like a creepy berk. But the less visibly creepy version is coming; Samsung patented “smart” contact lenses with a built-in camera earlier this year.

And there are already social networks and even specialised apps that are packaging up slices of our online past and yelling them at us regardless of whether we even want them: Four years ago you took this video of a duck! Remember when you became Facebook friends with that guy from your old work who got fired for stealing paper? Look at this photo of the very last time you experienced true happiness!

Plausibility rating: 5 out of 5

Series 2 (2013)

Episode 1: Be Right Back

Premise: A new service is created that enables an artificial “resurrection” of the dead via their social media posts and email. You can even connect it to a robot, which you can then kiss.

Last year, Eugenia Kuyda, an AI entrepreneur, was grieving for her best friend and hit upon the idea of feeding his old text messages into one of her company’s neural network-based chat bots, so that she and others could, in a way, continue to talk to him. Reaction to this was, unsurprisingly, mixed – this very episode was cited by those who were disturbed by the tribute. Even the robot bit might not be that far off, if that bloke who made the creepy Scarlett Johansson android has anything to say about it.

Plausibility rating: 4 out of 5

Episode 2: White Bear

Premise: A combination of mind-wiping technology and an elaborately staged series of fake events are used to punish criminals by repeatedly giving them an experience that will make them feel like their own victims did.

There is some evidence that it could be possible to selectively erase memories using a combination of drugs and other therapies, but would this ever be used as part of a bizarre criminal punishment? Well, this kind of “fit the crime” penalty is not totally unheard of – judges in America have been to known to force slum landlords to live in their own rental properties, for example. But, as presented here, it seems a bit elaborate and expensive to work at any kind of scale.

Plausibility rating: 1 out of 5

Episode 3: The Waldo Moment

Premise: A cartoon bear stands as an MP.

This just couldn’t happen, without major and deeply unlikely changes to UK election law. Possibly the closest literal parallel in the UK was when Hartlepool FC’s mascot H'Angus the Monkey stood for, and was elected, mayor – although the bloke inside, Stuart Drummond, ran under his own name and immediately disassociated himself from the H’Angus brand to become a serious and fairly popular mayor.

There are no other parallels with grotesque politicians who may as well be cartoon characters getting close to high political office. None.

Plausibility rating: 0 out of 5

Christmas special (2015)

Episode: White Christmas

Premise 1: Everyone has a device implanted in their eyes that gives them constant internet access. One application of this is to secretly get live dating/pick-up artistry advice.

As with “The Entire History of You”, there’s nothing particularly unfeasible about the underlying technology here. There’s already an app called Relationup that offers live chat with “relationship advisers” who can help you get through a date; another called Jyst claims to have solved the problem by allowing users to get romantic advice from a community of anonymous users. Or you could, you know, just smile and ask them about themselves.

Plausibility rating: 4 out of 5

Premise 2: Human personalities can be copied into electronic devices. These copies then have their spirits crushed and are forced to become the ultimate personalised version of Siri, running your life to your exact tastes.

The Blue Brain Project research group last year announced they’d modelled a small bit of rat brain as a stepping stone to a full simulation of the human brain, so, we’re getting there.

But even if it is theoretically possible, using an entire human personality to make sure your toast is always the right shade of brown seems like overkill. What about the risk of leaving your life in the hands of a severely traumatised version of yourself? What if that bathwater at “just the right” temperature turns out to be scalding hot because the digital you didn’t crack in quite the right way?

Plausibility rating: 1 out of 5

Premise 3: There’s a real-life equivalent of a social media block: once blocked, you can’t see or hear the person who has blocked you. This can also be used as a criminal punishment and people classed as sex offenders are automatically blocked by everyone.

Again, the technology involved is not outrageous. But even if you have not worried about the direct effect of such a powerful form of social isolation on the mental health of criminals, letting them wander around freely in this state is likely to have fairly unfortunate consequences, sooner or later. It’s almost as if it’s just a powerful image to end a TV drama on, rather than a feasible policy suggestion.

Plausibility rating: 2 out of 5

Series 3 of Black Mirror is out on Friday 21 October on Netflix.