Family history

There is a trend for books in which academics write personally about their engagement with literature. Examples include Lara Feigel’s Free Woman, in which the author blends a memoir of her marriage break-up with a close reading of Doris Lessing’s fiction, and Sally Bayley’s Girl With Dove, which fuses an account of a traumatic childhood with sketches that focus on Bayley’s early love of books. Addressed to a wider readership, these works combine autobiography with literary criticism. They are carefully crafted, confessional and ask why literature matters. The advantage of this approach is that it avoids the pitfalls of the now highly professional discipline of English Literature, dominated in universities

The journalist and broadcaster Christina Patterson’s memoir begins promisingly. She has a talent for vivid visual description, not least: ‘We are a pink and navy family. Two pink girls, a navy boy and a navy wife.’ Her early family holidays in Sweden, where her mother is from, are full of lingon-berries, hammocks and mini-golf. She recounts the story of her parents’ courtship as students and says of their relationship: ‘Love at first sight. Love for nearly 50 years. Love till death do us part’ — ominously pointing out how easy they have made love and marriage look. Most arresting, however, in this early part of the book, is her depiction

My daunting brief: to tell you about Hanya Yanagihara and her new, uncategorisable 720-page novel in 550 words. It’s the book-reviewing equivalent of a heated round of Articulate. Bums on the edge of the sofa, team. Flip that egg-timer. Here goes! American, born 1974, childhood spent largely in Hawaii. Debuted with The People in the Trees, 2013: clever, concept-led story about a fictional island whose inhabitants stumble upon the secret of extreme longevity. Best known for her second novel, the 800-page A Little Life, sold more than a million copies, shortlisted for the Booker. Come on, you know this one! Four gay friends, but mainly about Jude, the victim of

One of the most depressing vignettes in Michael Vatikiotis’s agreeably meandering account of his cosmopolitan family’s experiences in the Near East is when he, a former journalist with a sharp eye for detail, visits El Wedy, close to the Nile south of Cairo, where just over a century ago his great-uncle Samuele Sornaga built a hugely successful ceramics works employing 200 people. The factory no longer exists. It was nationalised, privatised, closed, and is now a vast construction site. After being harassed and prevented from taking photographs, Vatikiotis discovers it’s being developed as a resort — not for general tourists, mind, but for the army, whose presence looms menacingly everywhere.

The potter and author Edmund de Waal revisits familiar terrain at an angle in his third book, Letters to Camondo. Ten years after the publication of his debut memoir, The Hare with Amber Eyes, he is once again in Paris, lurking about the rue de Monceau, ruminating on dust, trying to make the dead speak. He’s particularly keen to elicit a word from Count Moïse de Camondo (1860-1935), the last patriarch of a clan of absurdly rich French Jewish bankers with roots in Constantinople. The count was a friend and neighbour of de Waal’s cousin, the art historian Charles Ephrussi, whose collection of Japanese netsuke played such a large role

Despite innovative work by younger writers, there remains a prominent strain in Irish literature of what we might call the ‘sad but nice’: tales of desperation elegantly unfolded, popularised by William Trevor and John McGahern and refined by Colm Tóibín and Mary Costello. A newcomer in this lane is Billy O’Callaghan, whose previous books have been so orgiastically praised by the Booker Prize winner and former literary editor of the Irish Times John Banville that I began to think O’Callaghan might be another of his pseudonyms. And if there’s one feature in Irish novels that shouts louder — or with more forceful quietness — than others, it’s the family and

Kiss Myself Goodbye. It sounds a bit like a William Boyd novel. It looks likea William Boyd novel, too: the cover shows an old hand-coloured photograph of a fur-stoled woman, determinedly leading a man in morning dress towards the camera. And, indeed, the raw material would likely make a very good William Boyd novel — only Boyd would have to jettison at least half of the breakneck hairpin bends in the mad, mazy plot for the sake of believability. This could be the ultimate case of a tale too strange to be fiction. Ferdinand Mount has crafted the perfect, custom-made receptacle for his extraordinary story. The (anti)-hero is the millionairess

Every so often the past makes a pass at you. An old school report, a train ticket, a curl from a first haircut falls out of an envelope and sends you tumbling back through the decades. For most of us these things are flotsam and jetsam, of momentary interest, but for Rachel Morris they are vital. It is partly that she works in museums, so is deeply invested in the past, and partly that her family history is so mysterious, fragmentary and ‘soaked in sadness’ that she relies on ‘things’ to help her piece together where she came from, and who she is. This book has two strands. First, it’s

Don Galvin and Mimi Blayney married in December 1944. It was a shotgun wedding. They had been high school sweethearts. Just before Don was about to be shipped out to join the fighting in the South Pacific, Mimi called from New York to say she was pregnant. A rushed wedding across the Mexican border in Tijuana followed: a not uncommon wartime story. But Mimi’s pregnancy turned out to be the first of a dozen, each accompanied by severe morning sickness. Between 1945 and 1965, a procession of children arrived, ten boys and then, at last, even after Mimi’s gynaecologist had warned that further pregnancies might prove life-threatening, came two girls.