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“... would report another classic white African murder: drunken father kills wife, children, self. Carolyn Slaughter and Alexandra Fuller’s memoirs of ‘an African childhood’ try, indirectly, to explain how generations of white people who ‘knew what was best for their Africans’ got it so wrong. Before the Knife and Don’t Let’s Go to the Dogs ...”

“... separate those without protection. In this respect, all writers in Africa write about apartheid. Carolyn Slaughter returns to the particular. When she was planning her story, its description of upheaval in South Africa must have been intended as a speculative exercise. But events have overtaken the novel or caught up with it. The action takes place away ...”

“... there. This sets up a genuine tremor of dread. The wilder shores of love are also investigated by Carolyn Slaughter in The Banquet, but here the tragic naivety impersonated by Deborah Moggach is replaced by a sense of strain which is in its way entirely appropriate. Harold Moreton is a solemn young bachelor of refined habits. He has all the appurtenances ...”

“... at such disparate phenomena as the Salem witch trials and in vitro fertilisation. And what does ‘Carolyn Macey’, who prefers her ‘fragile glass sculptures and light carpets’ to the ‘tough wood tables, Herculon upholstery and dark, stainguard carpet’ of homes with children have in common with the anonymous working-class woman who in an eloquent ...”