Books
by Graham Swift
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Here We Are |
Wartime evacuation and the last years of end-of-the-pier shows are the context for the story of a magician, his glamorous assistant and the show's 'star', told from varying perspectives and present day retrospect. Lucid and economical, if a little detached at times - I didn't get deeply involved in the characters - but Swift brings out the flavour of the times and by implication makes some interesting comments on Britain and perhaps on the analogies between 'illusions' and fiction. A short but good read.
(Tony Pratt - bwl 96 Spring 2020) |
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Last Orders |
An unforgettable plunge into the lives of ordinary men who set out on an extraordinary task, taking the ashes of their deceased friend, Jack, to the sea. This is no sad story of death, however: at the end I felt as though I had personally experienced all the moments of jealousy and friendship, joy and despair, that subtly link Jack's circle of friends. Vibrant language. A beautiful, moving story.
(Pamela Jaunin - bwl 13 April 2002) |
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Mothering Sunday |
Once upon a time, before the boys were killed . . . . so begins this short, beautifully written narrative. It is 1924, Jane, a maid with no mother to go to, is lying naked in bed with her lover Paul, the only surviving son of a wealthy family. Her story ebbs and flows between the events of this momentous day, the terrible losses of the Great War and the long, remarkable life ahead of her. Short it may be but not a single word is wasted.
(Jenny Baker - bwl 80 Spring 2016) |
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The Light of Day |
It is the anniversary of a death and as private detective George prepares to pay his fortnightly visit to Sarah, his ex-client, he gradually unravels the events which led to this day. From the start we can guess at her crime but it's the whys and wherefores that keep us on tenterhooks right to the end as he endeavours to understand the complexities of her relationships with him, her husband and her husband's lover.
(Jenny Baker - bwl 21 November 2003) |
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Waterland |
Swift writes in the Introduction that he created his protagonist Tom Crick, a history teacher, in order "to explore the whole mystery of 'history' (local, personal and global) - its meaning...its distinction...from mere 'story'." Atmospherically set in the Fens, spanning 200 years and two interconnected families, it involves land-reclamation, relationships, sexual awakenings, mental incapacity, incest, murder, abortion and the life-cycle of eels. Full of suspense, all is explained by the cyclical nature of history. Brilliant!
(Denise Lewis - bwl 86 Autumn 2017) |
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