2017 represents only the third occasion whereby I have read all shortlisted novels for the Booker Prize. And, as with 2016 and 1996, the question remains – from my perspective, did the judges get it right with George Saunders and Lincoln in the Bardo?
Controversy had (as usual) reigned supreme when the longlist of 13 was whittled down to six. Where was Sebastian Barry and Days Without End? What – no Jon McGregor and Reservoir 13? What happened to Colson Whitehead’s The Underground Railway and Mike McCormack’s Solar Bones? Instead, according to many critics, what was a powerful long list became something of a diluted shortlist.
The books that did make the cut were
Paul Auster 4, 3, 2 1
Emily Fridlund History of Wolves
Mohsin Hamid Exit West
Fiona Mosley Elmet
George Saunders Lincoln in the Bardo
Ali Smith Autumn
Sadly, to my mind, there were only two novels that stood out on the list, both extremely powerful and both deserved winners of the prize in this year – and in many other years. But the other four were generally forgettable.
Her fourth appearance on the Booker shortlist, Ali Smith and her Autumn is, to my mind, the least enjoyable of the six. Expansive and inventive it may be, capturing the zeitgeist of current British world of uncertainty and inwardness, this short novel is beautifully written and deeply profound, yet, too often, deliberately obscure and pretentious. (50%)
Emily Fridlund’s debut novel History of Wolves is also beautifully written with haunting prose and a vivid sense of place, but its meandering narrative failed to ultimately engage. (50%)
I loved his The Reluctant Fundamentalist – but Mohsin Hamid’s ruminations on refugees and Exit West, whilst salient, engrossing, at times quite magical, is also somewhat odd – a flight-of-fancy that actually needed a little more grounding. The teasingly well written first third sadly becomes a pedestrian, off-kilter place (as opposed to time) travel narrative. (58%)
Elmet is a powerful debut novel set in Yorkshire – a dark tale sublimely wrought, a British gothic simultaneously pastoral and fraught with a sense of foreboding. But it trails off into the land of melodrama in its narrative as Fiona Mosley tries a little too hard to tie up all loose ends. (64%)
The final two on the list are streets ahead of the other on the shortlist – and are neck and neck in the running. Paul Auster’s sprawling 4,3,2,1 is a magnificent thousand plus pages of four versions of the early life/lives of Archie Ferguson. It’s an engrossing celebration of liberal ideology and a reflection on a generation that sexually, politically and culturally defined the end of the twentieth century. (80%)
But it’s pipped to the post by George Saunders and Lincoln in the Bardo , an ethereal symphony in its intimacy of grief and familial love. Structurally experimental, Saunders’ novel is a polyphonic narrative interspersed with short quotes from newspaper articles and biographies of the day as President Abraham Lincoln is struck politically inert on the death of his 12 year-old son. (81%)
A very hard call – but to my mind, the judges of the 2017 Booker Prize got it right as far as the winning novel was concerned. Not convinced about the shortlist itself, though.