For five years now, Canongate’s Myths series has been imaginatively recasting the ancient stories that are the foothills of myth across cultures from China to ancient Greece and the Amazon; now comes one of the major peaks. So far none of the various distinguished authors in the series has had such a risky task as Philip Pullman in his retelling of the four Gospels: Margaret Atwood’s sideways glance at the Odyssey or Salley Vickers on the Oedipus story are hardly as vulnerable as Pullman to the fury of devotees worldwide. I wonder whom Canongate has signed up to have a go at the Koran. In Pullman’s book there is material enough for the virulence of the self-righteous: a transformation of Jesus as portrayed in the Gospels that follows on from Pullman’s earlier indictments of institutional religion. It turns a gaze on the Jewish prophet from Nazareth that is both satirical and serious, blending canonical gospel, ancient apocrypha, modern critical commentary and the wit and subtle invention of a great storyteller.
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'She digs her images into her story, so that they blow up like psychic land mines when the reader’s perception brushes against them.'
Hilary Mantel reviewing Margaret Atwood: a #BookerPrize double-header from the archive.
In Ali Smith's "Summer", 'the coronavirus pandemic has arrived. Lockdown happens too. There are allusions to Black Lives Matter, to online abuse and radicalisation, to things so recently news that it feels shocking to find them in a novel.'
'Stevenson told W E Henley, the model for Long John Silver, it was "going to shoot up and become a star". Alas, it fizzled out like a cheap firework, as many of his projects had a tendency to do.'
Alan Taylor looks at the greatest novels never written.