Leo Robson is the lead fiction reviewer for the New Statesman.
Is Autumn spoiled by Smith's love of the quick return and reliance on satirical fruit not so much low-hanging as fallen and rotting? It depends on the reader.
If Outline was all about shifting passivity, Transit is about characters who grab the bull by the horns. Why, then, does the novel cleave to the form of its predecessor?
It is well known that Stendhal compared politics in a novel to a gunshot in the middle of a concert – this novel of modern British politcs is more like a mirror being shot at.
Vinegar Girl and The Globe's Taming of the Shrew offer two new takes on a contentious play.
Two new books help us trace the influences of Cervantes on modern fiction.
Zero K can't resist reaching for Beckettian heights while remaining rooted in the banal.
As a fiction writer, Hensher has virtuosity on tap, so every page delivers something enjoyable and even eye-popping.
James elevated the novel to a higher plane – but 100 years after his death, it’s his surprising memoirs and essays that are enjoying a revival.
Michael Winterbottom, Britain’s busiest film-maker, discusses cinema, social mobility and how we are returning to the 19th century.
Julian Barnes’ latest novel is an attempt at the crystalline, obliquely passionate historical novel as practised by Penelope Fitzgerald.
The New Statesman goes behind the froth of daily headlines to look at the people and the passions shaping our world.
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