#sally-bolton

#sally-bolton

"I wonder why I wanted to be famous," she muses now, as we sit across from each other in The Pavilion cafe in Cork.

Research has linked reading for pleasure in childhood to a host of positive educational and socioeconomic outcomes. But now 14 years after the Department for Education, in a more innocent time, commissioned a chunky report on the matter—reading books for pleasure is an activity in crisis. The culprit usually blamed for this falling-off is the smartphone and its many short-term distractions; the mere presence of a smartphone in the room, recent research suggests, has an impact on our ability to concentrate.

We are initiated into a world in which historically accurate foodstuffs can be ordered online a half oyster shell, the exposed flesh shining as if with the freshest brine, is 31.25 for a single piece and begin to understand one of the most striking things about this novel: its insistence upon detail, its utter specificity, set against a deliberate lack of specificity regarding the larger details that the reader's mind naturally itches to fill in.

For those unfamiliar with the beloved heroine, Samantha is one of the first three historical characters introduced by American Girl in 1986. Samantha, Swedish immigrant Kirsten and WWII homefront heroine Molly demonstrated courage, compassion and resilience. Along with an 18-inch doll, each 9-year-old character was featured in a series of easy chapter books; kids could follow each fictional story as well as the historical context surrounding it.

In a packed room in Sydney, an excited crowd riffles through stacks of stickers and bookmarks searching for their favourite characters. Another group flicks through racks of clothing, pulling out T-shirts that say romance readers club and probably reading about fairies. A poster on the wall, with tear-off tabs, invites visitors to take what they need: a love triangle, a love confession mid-dragon battle, a morally grey man or a cowboy. Half of the tabs have already been taken.

Sophia Stewart poses a choice that many biographers struggle with: "what to do with the boring bits."

Liadan Ní Chuinn was born in Northern Ireland in 1998, the year the Good Friday Agreement ended the Troubles, the decades of violence stemming from England's occupation of Ireland. Other recent fiction about the Troubles-the novels and Trespasses , the TV show Derry Girls (all excellent)-is set firmly in the last century, relegating the violence to history. Ní Chuinn's work does the opposite: Their new book of short stories, Every One Still Her e, is set in contemporary Northern Ireland.

At least one fundamental human trait persists in the smartphone era: People seem to love a challenge. The internet teems with viral competitions, gamified health apps, and "life-maxxing" exercises of many kinds. Even those who resist the lure of screens-by, for instance, reading books-are frequently doing so with a kind of competitive zeal. A University of Pennsylvania professor has built a strict, rules-based classroom cult around reading.

Jilly Cooper's memorial last week started with the dean of Southwark telling a story from her funeral last year: as the congregation made their way to her final resting place, five horses ambled majestically across a field, and came to stand in formation, looking at the grave. They would not be budged and their intention was crystal clear: they were paying their horse-respect (this is not verbatim by the way) to an author who did as much for equine-kind as she did for humans.

When I came across the idea for this novel a few years ago, I knew it was bigger in scope than anything I'd done before and I accepted that the research alone would be more demanding than anything I'd tackled in the past. When I finally sat down to write Adam and Eve I also realised, by the end of the first draft, that this was going to be my final novel,