From The Guardian:
As the first lockdown descended in March, sales of Defoe’s A Journal of the Plague Year and Camus’s La Peste soared, but there were uncanny echoes of Covid-19 to be found in this year’s novels too.
Hamnet by Maggie O’Farrell
Maggie O’Farrell’s tender, heartbreaking Hamnet (Tinder), which went on to win the Women’s prize, illuminates life and love in the shadow of death four centuries ago. Focused on Anne Hathaway rather than her playwright husband , it channels the family’s grief for son Hamnet, lost to the plague, with a timeless power. From public information slogans to individual fears, Emma Donoghue’s The Pull of the Stars (Picador), set in a Dublin maternity hospital during the 1918 flu pandemic, shows how little our responses have changed. Don DeLillo completed The Silence (Picador) just before the coronavirus hit; but this slim, austere vision of what it’s like to be in a room as screens go dark and disaster unfolds outside chimes with current fears.
Unfolding disaster was the theme of novels that spoke explicitly to the present moment, too: Jenny Offill’s Weather (Granta) assembles shards of anecdote and aphorism into a glittering mosaic that faces up to Trump’s America and climate collapse with wit, heart and moments of sheer terror. Naomi Booth’s Exit Management (Dead Ink) expertly dramatises the crisis in housing, jobs and community. Sarah Moss’s menacing Summerwater (Picador) is set over one rainy day in a Scottish holiday park: catastrophe lurks in the near future as we dip into the minds of various daydreaming, dissatisfied holidaymakers, in a sharp investigation into the meaning of community and otherness. Also deeply attuned to the anxieties of both Brexit and our long, slow post-industrial collapse is M John Harrison’s masterly The Sunken Land Begins to Rise Again (Gollancz). An unsettling and multilayered narrative foregrounding two lost souls in a haunted, unheimlich England who don’t know how lost they are, it took the Goldsmiths prize for innovative fiction.
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In translated fiction, Elena Ferrante returned to her emotional heartland, the psyche of the teenage girl, in The Lying Life of Adults (Europa, translated by Ann Goldstein). As Giovanna tackles parental hypocrisy, self-disgust and the disconnect between upper- and lower-class Naples, the novel builds into what feels like a portrait of the artist as a young woman. Originally conceived as a true crime story, Hurricane Season by Fernanda Melchor (Fitzcarraldo, translated by Sophie Hughes) is a savage, unstoppable chronicle of misogyny and murder in a small Mexican village. Another rawly compelling novel won the International Booker: young Dutch writer Marieke Lucas Rijneveld’s The Discomfort of Evening (Faber, translated by Michele Hutchison) focuses on a girl in a deeply religious family that is falling apart in the wake of her brother’s death.
Link to the rest at The Guardian