Treacle Walker is a short and highly distinctive novel. In it, a young boy call Joseph Coppock, in recovery from illness and suffering from a lazy eye, has an encounter with the titular rag-and-bone man, with whom he makes a trade of his dirty pyjamas and an old lamb bone, receiving in return an empty jar of medicine and a donkey stone. In its few pages, Joseph encounters a naked ‘bog man’ named Thin Amren, sees characters from his Knockout comic leap off the page and join him in a reality-bending adventure involving mirrors and marbles, communes with cuckoos and learns via a visit to an optician that he sees different realities through his good and bad eyes.

Maps of Our Spectacular Bodies is a unique read, flitting back and forth between its protagonist Lia (a mother, wife and creative who has just received a terminal cancer diagnosis) and an unnamed second narrator who may or may not be the cancer itself. It plays with the novel form both in this sense and in its heavy borrowings from the world of poetry, with the text often deviating wildly from novelistic convention and into visual / concrete poetry modes. It’s drawn from personal experience of losing a mother to cancer, and amongst the formal experimentation is a relatively familiar and yet deeply emotive story of coming to terms with (or failing to come to terms with) death and reflecting on life - both the good and the bad.

Small Island is mainly set in 1948, in a London still rebuilding after the war. Its main focus is on four characters who end up living in the same house. They are the house’s owner Bernard Bligh, his wife Victoria “Queenie” Bligh and two of their lodgers, both recently arrived from Jamaica, Gilbert Joseph and Hortense, his wife.  The novel jumps back and forward in time, with the “Before” sections covering the early life of all of the characters, including their wartime experiences. 

The Bottle Factory Outing focuses on two young women who live together in a bedsit in North London, while both also working as labellers in a wine-bottling factory. The factory is owned by the Italian Mr Paganotti, who filled most of the factory’s roles with Italians from his hometown who feel indebted to him as a result. In this space, the two English women are relative outsiders, treated with a mixture of suspicion and reverence by the Italian men.  

When I Lived in Modern Times is the story of Evelyn Sert, a 20-year old hairdresser from Soho, of Latvian-Jewish heritage. After the war, she sets sail for Palestine, aiming to be part of the creation of a "new Jewish world" along with the refugees and idealists gathering there.

This is a Palestine still under the last throes of British colonial rule, and Evelyn is uncertain of her place in the embroyonic years of the creation of the Jewish nation. Unable to speak Hebrew (or in fact any languages other than English) she is initially at the whims of those around her, spending her first confusing months in a kibbutz before hitching a ride to the idealistic White City of Tel Aviv with the mysterious Johnny.

widow and resident of the town for around ten years, decides to open a bookshop in an abandoned seafront property known as The Old House, which is damp, decaying and apparently haunted by a "rapper" (poltergeist). She faces opposition from influential (and rich) local resident Mrs Gamart, who despite having shown negligible interest in the Old House previously, declares that she wants to use the location to set up an arts centre.

Young Mungo is a book that very much continues where Shuggie Bain left off. It’s not a sequel, but if you squinted a bit, it certainly could be. The world is the same - the grinding poverty of the Glasgow tenements in the late twentienth century, Shuggie’s Sighthill looming over the background of various scenes. The central character is again a boy coming to terms with his sexuality in unforgiving circumstances, while simultaneously devoting much of his love and energy to an alcoholic mother, with the same complement of older siblings as Shuggie. In short, if you loved his debut, you’re not going to find yourself wildly thrown off by the contents of this one. There are, of course, differences. Mungo is a fair bit older than Shuggie, already somewhat adapted to the reality he needs to at least try to fit into; similarly devoted to his disastrous mother, but less reliant on her and therefore slightly more open to possibilities beyond her world; and with at least sense of the possibility of escape.

Blonde Roots has a concept that’s hugely appealing in its simplicity: it imagines a world in which the history of the slave trade is inverted, where “blak Aphrikans” are the masters and “whyte Europanes” the enslaved. Its central character is Doris Scagglethorpe, a white Englishwoman who is kidnapped as a child and taken on a slave ship to the New World (in the "West Japanese" islands) where she is acquired by the plantation owner Bwana, also known as Chief Kaga Konata Katamba I. She is ultimately moved to the imperial capital of Londolo, in the island of Great Ambossa where she becomes a "house slave" until her attempt to escape. As punishment, she is returned to the plantation and ends up labouring in the fields, suffering incredible hardship and dreaming of a final escape.

A Spell of Winter is a gothic novel set in wealthy rural England in the years before World War I. It focuses on two siblings, Cathy and Rob, who live with their grandfather after their parents have departed in initially mysterious circumstances. They are brought up mainly by a servant, Kate, and taught by their hated governess Miss Gallagher, who appears to have an unhealthy fascination with Cathy.

Klara and the Sun is Ishiguro’s eighth novel, released to much anticipation last year at the height of the Covid Pandemic. It’s told from the perspective of an AF (Artificial Friend), a robotic life-form created to help provide company for children in a world in which they are no longer able to (for reasons not initially stated) socialise in school-like settings. As in Never Let Me Go, many key details are withheld. We come to understand via Klara’s limited but perceptive observations that this world is different to our own in ways we don’t quite understand (beyond just the existence of sentient AI-based lifeforms, of course.)

The Handmaid’s Tale, for anyone who’s been living under a rock and is somehow not familiar with its plot, is essentially the tale of a dystopian, totalitarian version of America, known as Gilead, seen through the eyes of one of its presumably millions of ordinary female victims - Offred - who, as one of the diminishing number of fertile women in an aggressively patriarchal society, is assigned to the role of “handmaid”, essentially a house-slave of her “commander” whose sole purpose is to bear him and his wife a child.

Girl, Woman, Other follows the lives of 12 characters, predominantly black and female, in the UK over the course of the twentieth and early twenty-first century. Each of the 12 main sections is told in the voice of those characters, whose lives cross over, in some cases intimately and in others highly tangentially, with the other characters in the book. The first chapter focuses on the build-up to the launch of its central character, Amma's new play, The Last Amazon of Dahomey, opening at the National Theatre. The final chapter takes place at the play's afterparty, at which many of the present-day characters are present or in the minds of those attending.

Milkman is told in the distinctive voice of an unnamed 18-year-old "middle sister" trying to go about her life in an unnamed city in peak-Troubles Northern Ireland. She is stalked and harrassed by a 41-year-old paramilitary officer known only as "Milkman". False rumours spread that she is in a relationship with this character, affecting her relationship with her mother, the wider community, and her "maybe-boyfriend".

The Line of Beauty is a 1980s-set novel covered the peak years of Margaret Thatcher’s Conservative rule and the growth of the AIDS crisis. It focuses on Nick Guest, a recent Oxford graduate writing his PhD on Henry James. Now living in a Notting Hill townhouse belonging to the parents of his college friend (and crush) Toby Fedden. The patriarch of the family is Thatcher-obsessed MP Gerald Fedden, married to Rachel and also father to Catherine, a troubled character who forms a closer bond with Nick.

Amsterdam is a short novel focusing on two old and extremely posh friends: Vernon Halliday, newspaper editor of the tabloidy fabrication The Judge, and Clive Linley, who is a very very serious composer. They meet at the funeral of Molly Lane, and are among at least four of her former lovers at said event. We don’t learn an awful lot about Lane, beyond the fact that she entertained a lot of men, and died of an unspecified madness-inducing illness. Vernon and Clive make a pact to “help each other out” if they ever find themselves in a similar state of mental deterioration, which sets in motion a series of highly improbable events in the name of, I guess, “satire.”

Last Orders follows a motley crew of friends and near-relatives of the recently passed-away Jack Dodds, a Bermondsey butcher’s shop owner. They’re tasked by Jack’s widow Amy with scattering his ashes in Margate. Amy herself isn’t attending, for reasons that are explored in flashback as the novel unfolds, alongside the crew’s somewhat ramshackle journey out of London and through Kent, filled with arguments, detours, pubs, and reflections on life, death and relationships.

The Ghost Road is the final part of a trilogy, crucially one of which I haven’t read the first two parts (more on that later.) The Regeneration Trilogy is set predominantly during World War 1, and blends historical characters including war poets Siegfried Sassoon, Wilfred Owen and Robert Graves, with fictional characters including the central character Billy Prior, a working-class officer created to parallel and contrast with the poets.

How Late it Was, How Late covers the aftermath of a “lost weekend” for 38-year-old ex-convict Sammy. It’s a stream-of-consciousness inner monologue in which we find Sammy learning to cope with sudden blindness, seemingly induced by a police beating. He remembers nothing of the previous two days’ drinking binge, and has seemingly been left by his partner Helen, following a fight which kicked off the weekend’s events.

Sacred Hunger is a 620-page epic centred around the a slave ship, the Liverpool Merchant, in the 1750 and 60s. The ship is owned by the Kemp family, with the younger Erasmus Kemp one of its principle players. His cousin, against whom Erasmus bears a childhood grudge, Matthew Paris, has recently been released from a prison sentence for spreading proto-Darwinist propaganda, a crime which also inadvertently led to the death of his wife Ruth. He elects to join the crew of the Merchant as ship’s doctor, as a form of penitence and attempt to escape from his former life, much to the chagrin of the vessels’ terrifying commander, Captain Thurso.

The English Patient tells the story of four very different individuals who find themselves living together in abandoned villa in Northern Italy in the final months of World War II. Hana, a young Canadian nurse, has stayed behind at the villa (previously used as an improvised hospital) to care for the badly burned titular “English Patient,” who is also suffering from amnesia.