The Responsibility of Reading

This week our four-year-old has been learning her first sight words. I, can, said, no, to, not, you, here, help, play, where, and we have all been written onto flashcards before being splatted by a fly swat as she recognises each word. She’s had great fun splatting, and it has allowed her to join in when we’re reading to her before bedtime.

I’m reminded of all the exploring she has ahead of her. She’ll tiptoe along wainscots with Arrietty. She’ll whitewash the fence alongside Tom Sawyer. She’ll grope around Gollums’ cave in the darkness and guess the password in front of the Fat Lady in Hogwarts. To have all of this in front of her, undiscovered, is a precious thing, and one I’m not a little jealous of. Continue reading “The Responsibility of Reading”

Book Review – Reservoir 13

Reservoir 13

Jon McGregor

Harper Collins

GBP 8.99

‘There were dreams about her walking home. Walking beside the motorway, walking across the moor, walking up out of one of the reservoirs, rising from the dark grey water with her hair streaming and her clothes draped with long green weeds.’

Reservoir 13 is Jon McGregor’s fourth novel. It is extraordinary.

Rebecca Shaw is thirteen years old when she disappears on a family walk on the moors. Walking behind her parents, one minute she is there, the next she is not. Villagers rally around to search for the child, fanning out around the reservoirs and prodding through the undergrowth.

It is tempting for the reader to slip into the whodunnit mind frame, but that would be to miss the point of McGregor’s narrative. The girl is not found, not after a week, not after a month, not after a year. What follows is a forensically beautiful exploration of grief seen through the lens of a small village. The inhabitants move on, as they must; teenagers mature, marriages dissolve, and feuds escalate. All of these events are however set against the backdrop of unresolved tragedy.

McGregor uses beautiful, simple language. Huge, rambling two-page paragraphs do not serve to stilt the pace, but rather build a rhythmic, seasonal repetition. Each chapter starts at the new year bells. We follow a plethora of characters through the rural year, their tribulations interspersed with updates on badgers, foxes, bats, and swallows. This relentless changing-of-the-seasons heightens the tension of the piece and mimics the small-town claustrophobia threaded through the novel. What is left unsaid is as important as what McGregor chooses to commit to copy. Characters’ motives are often left only partially explored, tantalising the reader with the question ‘could it have been him/her?’

The time frame in which the novel is set in allows McGregor ample time to develop his characters. This development is particularly poignant in the case of the four teenagers who were briefly friends with Rebecca. We watch them dream, stumble, and finally accept their differing roles, becoming accustomed to grief and guilt in their own ways. The greatest achievement of the novel is to lull the reader into equating characters’ idiosyncratic worries and tribalisms with an undoubted tragedy. People move on; they must, and as such Rebecca fades into the background of village life, swallowed into folklore like so many other events.

A novel like no other I have ever read, and one which will stay with me.

For other book reviews featured on my blog please see

A Gentleman in Moscow

The Underground Railroad

Book Review – A Gentleman in Moscow

A Gentleman in Moscow

Amor Towles

London, Windmill Books


A gentleman in moscow


‘Who would have imagined…when you were sentenced to life in the Metropol all those years ago, that you had just become the luckiest man in all of Russia.’


In A Gentleman in Moscow, Amor Towles takes on a gargantuan task. The culture of Soviet-era Russia might not appear at first glance to be comfortable ground for a former investment professional. Towles, though, has an instinctive understanding of what western readers find interesting about the era and is not afraid of using footnotes to expand upon history. What results is the impression that Towles is genuinely fascinated with the evolution of the Soviet Union, a passion that quickly transfers to the reader.

The eponymous gentleman, Count Alexander Ilyich Rostov, is not immediately apparent as a heroic protagonist. Privileged, aristocratic, and a member of what his prosecutors describe as ‘the leisure class’, Rostov is sentenced to indefinite house arrest at the Metropol Hotel in Moscow by a Bolshevik tribunal in 1922. As he comes to terms with his confinement, Rostov finds comfort in routine, however mundane. Dining at the same restaurant, keeping the same appointment at the barbers, and rearranging his modest apartment allow the count a semblance of order whilst endearing him to the reader.

In what might seem limiting scaffolding for a story encompassing thirty-two years, Towles progresses his narrative through exquisitely drawn secondary characters, from the forthright child Nina, to the irascible chef Emile. Typically for a hotel, some characters linger throughout the book, whilst others, seemingly integral to the plot, disappear heartbreakingly without trace.

Towles treats the major historical events of the novel with similar disparity. The second world war itself, an obvious set piece, slides by with hardly a mention, whilst the gulag is evoked in all its industrial cruelty and horror. It is in this flux that Towles brings his third novel to life. History leaves its mark on the Metropol, its staff, and its guests. Rostov, though, remains serene. It is only when the Soviet Union threatens someone whom he has grown to love that the Count seeks to change his fate rather than console himself to it.

On spec, A Gentleman in Moscow has the potential to be mawkish. It is no such thing. Towles’ lightness of touch makes the novel warm and rewarding, its characters complex and contrasting.