Skip to main content

From a Low and Quiet Sea by Donal Ryan review – waves of compassion and anger

The lives of a Syrian refugee, a heartbroken carer and a crooked moneyman cross with poignant results

There comes a moment in every novelist’s career where they must decide whether to plough the same furrow that has brought them great success or make their way cautiously into another field, uncertain whether the soil on neighbouring land is as rich. In his fourth novel, Donal Ryan has not only bounded over a wall into new territory, but built himself a castle there.

It’s astonishing to realise that Ryan’s first novel, The Spinning Heart, was published only six years ago. Since then, across three novels and a story collection, he has displayed a sympathy for the voices of the dispossessed that few writers ever develop. His debut was narrated by 21 victims of Ireland’s economic crash; he introduced readers to Johnsey Cunliffe, the isolated and troubled young man at the centre of The Thing About December. Then, along came Melody Shee in All We Shall Know, who found solace with a younger man, Martin Toppy, a Traveller: a character often seen and persecuted in Irish life, but still under-represented in Irish fiction. And so, when the opening section of From a Low and Quiet Sea introduces its first protagonist, and he is not named Seánie, Mick or Peadar, but Farouk, readers will recognise that Ryan has decided to try something a little different.

Continue reading...

from Culture | The Guardian https://ift.tt/2uyz17e

Comments

Popular posts from this blog

Knives Out review – Daniel Craig goes Columbo in Cluedo whodunnit

Craig grills an all-star lineup of suspects when a wealthy novelist is found dead in Rian Johnson’s sharp, country-house murder mystery R ian Johnson unsheathes an entertainingly nasty, if insubstantial detective mystery with his new film, Knives Out. Back in 2005, his debut movie Brick (a high-school thriller) paid tribute to the hardboiled noir genre. Now he does the same thing for cosy crime, although there is nothing that cosy about it. Knives Out has a country house full of frowning suspects, deadpan servants and smirking ne’er-do-wells and an amusing performance from Daniel Craig as Benoît Blanc, the brilliant amateur sleuth from Louisiana who annoys the hell out of one and all by smiling enigmatically, occasionally plinking a jarring high note on the piano during the drawing-room interrogation and pronouncing in his southern burr: “Ah suh-spect far-wuhl play!” Continue reading... from Culture | The Guardian https://ift.tt/2L0NKO4

Tracey Emin decorates Regent's Park and a celebration of Islamic creativity – the week in art

Emin and others survey the state of sculpture, Glenn Brown takes his decadent imagination to Newcastle and artists offer northern exposure – all in your weekly dispatch Frieze Sculpture Park Tracey Emin, Barry Flanagan and John Baldessari are among the artists decorating Regent’s Park with a free survey of the state of sculpture. • Regent’s Park, London , 4 July until 7 October. Continue reading... from Culture | The Guardian https://ift.tt/2IDCpPV

Elena Ferrante: ‘Solaris is not Tarkovsky’s best film, but it made the greatest impression on me’

Solaris is astonishing because the book that inspired it doesn’t seem to contain Tarkovsky’s film A film that I watch at least once a year is Andrei Tarkovsky’s Solaris . I’ve loved all of Tarkovsky’s works, even the most difficult. Some I’ve seen in the cinema, others on television. I saw Andrei Rublev at the cinema, and on the big screen it was astonishing, its black-and-white extraordinary: I’ll probably never see it again in a cinema, but I hope that young people will have the opportunity. I also saw Solaris on the big screen – not Tarkovsky’s best film, but the one that made the greatest impression on me. I remember that it was advertised as the Soviet answer to 2001: A Space Odyssey – a completely misleading slogan. To see in it a cinematic contest between the US and the USSR was as silly as it was misleading. Kubrick’s marvellous film, with its imaginative force, would certainly win. But it doesn’t have even a hint of the desperation, of the sense of loss, that dominates Sol...