The Ultimate List of Best Books from the Last Decade

The expansive project has hype and money behind it – but how do you avoid it falling into the disappointment trap so many films end up stumbling into? If the history of failed Hollywood fantasy projects over the past 20 years has taught us anything, it is that transporting audiences to another world is only half the battle: you also have to give them a reason to spend several hours there. The Golden Compass diluted Philip Pullman’s theological bite, Warcraft thought that just explaining its world would make us care about it, and The Dark Tower compressed Stephen King’s sprawling mythology so ruthlessly that it scarcely left room for a story. All these films at one point had fans of the original source material quivering with anticipation at the prospect of seeing their beloved worlds on the big screen; all ended up disappointing. Which brings us to the forthcoming Alex Garland adaptation of the hugely popular high fantasy video game, Elden Ring. If there was ever a cinematic test of the phrase “too big to fail”, it is surely this. Elden Ring has sold more than 30m copies and is widely regarded as one of the greatest video games ever made. George RR Martin himself wrote the foundational mythology of warring demigods that underpins its gorgeous fantasy hellscape. And Garland as writer-director seems almost impossibly perfect: as the creative behind Dredd, Ex Machina and Annihilation, he has both the taste for beautiful nightmares and the geek credentials to deliver something extraordinary. Continue reading...

Wikipedia’s 68m articles have been consulted trillions of times. Not bad for a website that has barely changed since it was founded 20 years ago A few years ago, I was struck by the tension between how Wikipedia was used, and how it was talked about. Everyone was on it all the time, and yet its reputation had stalled at “don’t trust it”, because it was the “free encyclopedia that anyone can edit”. Clearly people were trusting it, so much so it had become part of the fabric of everyday life since it was founded by Jimmy Wales and Larry Sanger in 2001. But despite the fact it now has been consulted trillions of times by billions of people (English Wikipedia alone is 5.2bn words long), it inspires an odd lack of curiosity. Even people donating to Wikipedia might say the money was “for the factcheckers”, though there aren’t any – not paid ones, anyway. Meanwhile, the internet in the social media era had begun to feel like a much uglier place, and some digital nostalgia was setting in: here was this holdover that had somehow survived; a website that functions – and even looks – much the same as it did 20 years ago. Continue reading...

After more than two decades of studied neutrality, the journalist delivers some home truths about modern politics Laura Kuenssberg always swore she would never write a book. Amid all the vitriol hurled her way, the BBC’s political editor turned presenter has largely kept her counsel. She rarely complained even when she needed security to do her job unobstructed at Labour party conference under Jeremy Corbyn, or had to run the gauntlet of aggressive Brexit protesters outside parliament, or when a creepy unnamed minister tried to inveigle her into his hotel room for what an appalled Kuenssberg concluded was intended to be a threesome. Knowing everything she does is minutely parsed for bias, she keeps her cards close to her chest. Until, apparently, something snapped. Pay Attention is a muted but heartfelt howl of frustration with politicians “who have looked like an absolute shower for a long time” but also, sotto voce, with voters, who she evidently wishes would occasionally take things more seriously. Having covered Westminster since the late noughties, Kuenssberg brings all that weight of experience to bear in spelling out just how far the abnormal is now becoming normalised in British politics. Continue reading...

The Jojo Rabbit director blamed the dismal numbers for his film of Kazuo Ishiguro’s novel on ‘obsolete’ reviewers’ notices, adding that he works ‘for the people’ – whose Rotten Tomatoes ratings are much higher Taika Waititi has launched a furious broadside at “critics” following the disastrous commercial performance of Klara and the Sun, his new film adapted from a Kazuo Ishiguro novel. In a post on social media, Waititi wrote: “This Halloween, let’s spare a thought for those sad lost souls who couldn’t achieve their dreams of becoming artists, and thus settled, and became critics.” Continue reading...

Her unsparing fiction and true crime writing have made her one of Australia’s most controversial and celebrated authors. The author discusses relationships, resilience – and finding global recognition five decades into her career A few years ago, when Helen Garner had an idea to write a book about Australian rules football, her heart soared then immediately sank. The impetus was Ambrose, her teenage grandson, who played for a local team. Garner enjoyed watching them and wanted to put this into writing. Then the dreary thought: “I’ll have to swot, read the rulebook.” People to whom she mentioned the idea assumed she’d be writing a polemic, “like what it means in society and how terrible it is and what violence means. And I’m going: ‘What a bore.’” As anyone familiar with Garner’s almost 50-year writing career will know, there is nothing more igniting to the 83-year-old than the invitation to outrun boredom by going off in an unauthorised direction. Garner, who is speaking to me via video call from her home in Melbourne, occupies that tiny category of writers famous enough to be recognised in public. Stopped by strangers in the street, she’s often treated to their strong views about her work. As a result, perhaps, she has perfected a very Garnerian obstinacy, enabling her to resist other people’s bossy opinions which, in the case of The Season, meant no tedious explainers about the rules, history or sociology of Aussie rules football. Instead, says Garner, she envisaged following a single season of Ambrose’s U16s team, the Flemington Colts, as “a nanna’s book”. During publicity, she’d turn up to an event at a library to find “the first five rows packed with nannas; all these white-haired women with hankies in their hands. And I feel nobody writes about nannas. I mean, sentimentally, yes; but I want to say what they’re really like.” Continue reading...

The hallucinatory crisis of a war-scarred jurist with a painkiller dependency makes for frustrating reading Of the cohort of experimental novelists whose renown grew in the wake of the 2008 financial crash – names include Deborah Levy, Eimear McBride and Claire-Louise Bennett – it was Tom McCarthy who first demonstrated the benefit of bypassing orthodox routes to market. When British publishers rejected his 2005 novel, Remainder, about an amnesiac who spends a windfall restaging his past, he released it in a limited edition from a Paris art collective. Three years later, Zadie Smith wrote an essay celebrating it as a path-breaking overthrow of establishment-sanctioned “lyrical realism”. The literary press soon began finding more room for McCarthy, whose regular denunciations of English fiction – not least for its “middlebrow” ignorance of challenging ideas from the continent – did much to shape bookish conversation at the turn of the decade. If his zeal wasn’t to everyone’s taste – the New Statesman once called him Britain’s “most galling interviewee” – anyone lately stepping into a bookshop might well feel the last laugh belongs to McCarthy. Witness the success of Fitzcarraldo Editions: innovative Europeans are hot property. Risk-rewarding ventures such as the Goldsmiths prize, established in 2013 to spotlight formally daring fiction amid panic about the philistinism of award panels, feel a little less urgent when a novel as inscrutable as M John Harrison’s The End of Everything sits comfortably on this year’s Booker shortlist, a bestseller to boot. When the mainstream and the avant garde are now kissing cousins, where does it leave McCarthy? The Making of Incarnation (2021), a dense, Pynchonesque espionage yarn about motion capture technology, suggested that he saw the Booker-shortlisted success of both 2010’s C and 2015’s Satin Island as a green light to push readers harder. Further evidence for the theory is supplied by his riddling new novel, The Rhyl…

In an exclusive excerpt from his new oral history, comedian Andy Richter — who has a small part in the movie — retraces the unlikely birth of the 2003 holiday hit.

Not only did Craig insist his 007 die at the end of his run, but now we learn from Dench’s memoir that it was his idea to kill her off too. How will the next Bond top that? Shoot a puppy? Now that the next James Bond actor is on the brink of being unveiled, it may be a good time to take a proper look at the prior 007 with clear eyes. Because, while the reputations of all the previous Bonds have ossified over the years – in chronological order: sexy, wooden, camp, boring and silly – the Daniel Craig era is finally coming into focus. And it turns out that he was actually the angel of death. Obviously anyone who saw No Time to Die knows this, because that film ended with Bond being exploded in a hail of missile fire. But according to Judi Dench’s new memoir Is It Too Late to Make a Run for It?, it was also Craig’s decision to kill off M, too. Continue reading...

EXCLUSIVE: Colin From Accounts producer Easy Tiger has secured TV rights for Dervla McTiernan’s bestselling psychological thriller novel Three Reasons For Revenge. Following what sources called a “heated auction,” the Australia-based Easy Tiger has attached Shaun Grant (The Narrow Road to the Deep North, Snowtown) to write the screenplay for a TV series. No broadcaster […]

The wife of murdered Russian dissident Alexander Litvinenko rages against Putin’s state, in a moving memoir of life in exile, love and loss Among the many images of violence that might be used to define Putin’s chilly reign, one stands out. The photo of the Russian dissident Alexander Litvinenko – gaze defiant, lying in intensive care – taken in November 2006. Litvinenko had met with visitors from Moscow: they poisoned his tea with radioactive polonium. A public inquiry concluded that Putin had “probably” approved the hit, sending two clownish assassins to carry it out. The London deathbed picture featured in newspapers across the world. It was a powerful symbol of what post-millennial Russia had become: a cruel and vindictive place, ruled by a paranoid KGB tsar. Litvinenko was its ill-fated prophet. He was the target, he told British detectives, of a vengeful mafia state. If unchecked, Putin would start a war in which millions would die, he warned presciently. Continue reading...

This insider’s history of the CIA explores the last 50 years of US foreign policy with granular detail and mordant humour The 250th year of the American experiment seems to invite a reckoning. For a young country, the United States is overblessed – or burdened – with myths about its foundation and how the nation has conducted itself at home and abroad. William T Vollmann’s 3,000-page novel A Table for Fortune is an epic attempt, 15 years in the making, to engage with the US’s past and present at an institutional and a personal level. The four simultaneously published volumes offer both a family story and an insider’s history of the CIA, in order to show the consequences of the quest for liberty and the belief in American exceptionalism. Vollmann’s previous novels have explored the ideological basis of American society, most notably those of the Seven Dreams series, published from 1990 to 2015, which depict the generally disastrous encounters between American settlers and Indigenous peoples. A Table for Fortune continues this project by investigating the last 50 years of US foreign policy, at the heart of which is 9/11, with the book “tracing the roots of that crime in one direction and its poisoned harvest in another”. Though the CIA has been fertile ground for many great American novelists – Don DeLillo, Norman Mailer – Vollmann is perhaps the first to represent the culture and daily activities of the agency in granular detail. His great gambit is to frame this as a dark workplace comedy of minor resentments, sexual tension and office banter. These sections are narrated by the institutional voice of the CIA itself in a relentlessly sardonic tone rife with acronyms, codenames and jargon rendered in multiple fonts. The mordant humour of the narrator, who regards all forms of death and suffering as “fun”, has a seductive quality that allows Vollmann to educate the reader about a broad sweep of geopolitical subjects ranging from the Angolan civil war to the…

Based on the ancient classical poem about Rama, the avatar of the Hindu god Vishnu, this three-hour blockbuster is highly enjoyable Here is a thoroughly engaging, rousing and spectacular Indian epic melodrama from director Nitesh Tiwari, with music by Hans Zimmer and AR Rahman, based on the ancient classical poem about Rama, the avatar of the Hindu god Vishnu. It has often been adapted for live-action and animated movies in the past, though surely not on this scale, the current three-hour blockbuster being only the first half. (There are no musical numbers though.) The idea of aristocrats submitting stoically and yet playfully to exile in the forest has something Shakespearean about it, and if you are suffering from Homer-withdrawal after Christopher Nolan’s The Odyssey, a story about the noble Prince Rama finally vowing to wage war on a distant city where his wife has been abducted might just fit the bill. Ranbir Kapoor plays the mythical Rama, a noble warrior and statesman who has been brought into being in the city state of Ayodhya as a bodily representative of Vishnu, and from the first his sense of destiny is overwhelming. But what exactly is that destiny? In broad terms, his fate is to face off with Ravana (Naveen “Yash” Kumar), king of far-off Lanka, a figure whose former slave status once triggered in him such a cosmically intense prayer for justice that Lord Brahma offered him the superpower of athletic strength and indifference to pain. Continue reading...

Anna Lembke's thought-provoking book Radical Surrender argues that we are obsessed with dictating every event in our lives, and that we need to realise we can't control everything. David Robson takes stock

The Rouse, which took its author two decades to complete, was praised by judges as ‘exuberant, overflowing’ China Miéville has won the £10,000 Goldsmiths prize for The Rouse, a 1,264-page epic that is part paranormal thriller, part historical saga moving through decades of British imperial and cold war history. The win, announced at a ceremony in London on Wednesday, makes The Rouse the longest novel to take the prize since it was launched in 2013 to reward fiction that “breaks the mould or extends the possibilities of the novel form”. Continue reading...