The Booker goes blokey: what David Szalay's Flesh tells us about masculinity in fiction

David Szalay's Flesh is many things: stark, relentless, deeply bodily. But above all, it may be the most blokey Booker winner we've ever seen. With its monosyllabic protagonist István, a Hungarian immigrant who becomes a strip-club bouncer, chauffeur, and then a mysteriously wealthy man, Szalay has brought back something long missing from the literary stage: the unvarnished, working-class male.

Not since the heyday of Martin Amis, David Storey or even Alan Sillitoe has literary fiction made space for this kind of protagonist. 

When cosy meets cathartic: the revival of WWII family sagas

There is something quietly astonishing about returning to a decades-old series and finding it not only still relevant, but newly resonant. That's precisely what is happening with the revival of Elizabeth Jane Howard’s Cazalet Chronicles. I have loved reading these.

It’s no wonder Hilary Mantel said these were the books she told everyone to read, and wondered why she wasn’t as widely read as Jane Austen. Mantel suggested, in a Guardian article, that part of the reason Howard was underrated and underread was because she was a messy modern woman and was judged for it. 

The art of the campus novel – what makes them work, and which are the best?

Writing about Donna Tartt last week and The Secret History got me thinking about the campus novel.  

I’ve always been fascinated by this sub-literary genre, from what makes it work to why it continues to captivate readers and how it manages to be both intensely specific and universally resonant. 

The best campus novels transport us to a world of intellectual ambition, youthful recklessness, and, often, profound disillusionment. They capture a moment in life where identity, relationships, and ambition collide.

But what exactly makes a great campus novel, and which books best define the ever-growing genre?