Stuart Kelly

Often blurring the lines between fact and fiction, Sarah Moss’s memoir is a multi-layered exploration of eating and its disorders, writes Stuart Kelly

This tale of an accidental spy may be technically passable but it lacks an emotional core, writes Stuart Kelly

The propulsive energy of Sally Rooney’s latest novel is derived not from its plot, but from the meticulous self-questioning of the characters, writes Stuart Kelly

Telling the story of a teen in late 1940s London who discovers a book from an alternate reality, Alan Moore’s new novel is full of ideas but suffers from woeful verbosity, writes Stuart Kelly

From the Porteous Riots to Miss Jean Brodie, two new books about Scotland’s capital city cover much of the same, familiar ground. What’s missing from both, though, writes Stuart Kelly, is the Edinburgh outside the routes of the open-top tourist buses

There are two crimes under investigation in this latest Rebus adventure, but readers will have to be alert if they are to stand a chance of solving them, writes Stuart Kelly

When it comes to effective horror writing, less is often more, writes Stuart Kelly

Set in a dictatorial state where everyone is under surveillance, the new novel from Ali Smith is a riot of puns, neologisms and quick-fire exchanges, writes Stuart Kelly

Written in a single, 406-page long sentence, the new novel from International Booker Prize winner László Krasznahorkai achieves some extraordinary effects, writes Stuart Kelly

The Suicides ntonio di Benedetto, translated by Esther Allen NYRB, pp.136, 15.99