Tessa Hadley

The novel at any given moment has a special relationship with the recent past: worlds contiguous to its own, at the farther reaches of living memory, not yet floated off into history. Colm Tóibín’s Brooklyn and William Trevor’s Love and Summer address themselves with urgency to 1950s Ireland, not out of nostalgia, but because something needs to be understood, for the...

A number of the stories in this collection cluster around the figure of K.K. Harouni, an elderly landowner in 1970s Pakistan, with a big house in Lahore and farms in the Punjabi countryside, just as Harouni himself exists at the centre of a far-reaching network of subordinates and dependants. In some of the stories he’s a remote master, viewed from the perspective of the people who work...

In ‘Eternal Father’, the last story in Happy Families, three sisters meet for a candlelit reunion around their father’s coffin, in a sunken park in Mexico City, ‘a cool, shaded urban depression in the midst of countless avenues and mute skyscrapers’. The father died a rich man. We aren’t told how he made his money, although picking up themes from the other...

In the title story of Claire Keegan’s second collection, Walk the Blue Fields, a priest is officiating at a wedding in rural Ireland: the bride is late, the organist has to play the Bach toccata twice, ‘a thrill of doubt’ is ‘spreading through the pews’. She turns up eventually, and the ceremony goes off all right, but an intimation of trouble has been set...

Alice Munro doesn’t write much about her writing: there are only a few interviews, hardly any essays or journalistic pieces, and we don’t catch her holding forth about her literary likes and dislikes. But here in her new collection, The View from Castle Rock, she speaks to us directly, first in a brief introduction explaining the way the book has been put together, and then in a piece, ‘No Advantages’, in which she describes in her own person the researches into her family history that have resulted in some of the stories that follow.