“Every scene needs a chronicler like Lizzy Goodman,” was Jim Carroll’s wholehearted recommendation, in the Irish Times, of Lizzy Goodman’s Meet Me in the Bathroom: Rebirth and Rock and Roll in New York City 2001-2011. The book is “a meaty oral history”, “a wild read” and “strikes all the right notes. As oral histories go, this is one of the very best.” In the Observer, former music journalist Barbara Ellen admired Goodman’s ability “to marshal a veritable army of interviewees who’re not only prepared to talk, but also to gossip, muse, digress, ramble, even bitch and fume, to build the most accurate picture”, making the book “beautifully paced, vivid, informative and compelling”. For the Sunday Times’s Lise Verrico, it was exhaustive at more than 600 pages, and “full of colourful characters, catty comments and incredible candour”.
Anthony Quinn’s novel Eureka also looks back at a swinging time, in this case London in the 1960s, with characters including acid casualty screenwriter Nat Fane. It is part three of a “loosely linked and hugely enjoyable trilogy”, explained Peter Stanford in the Observer, but “works just as well as a standalone”. Stanford found mysteries, wit and entertainment aplenty, but reassured readers: “If Eurekais beginning to sound too clever by half, rather like a 60s counterculture film, what brings it all delightfully together is Quinn’s flawless, easy-going prose. He never once puts a foot wrong either in the wealth of period detail or in giving each well-drawn character their distinctive voice. Clever, certainly, but in just the right measure.” The Mail on Sunday’s Hephzibah Anderson described it as a “pleasingly melancholic romp [which] gallivants towards a dark mystery”, and the Times’s Siobhain Murphy decided that “Quinn’s immersive approach to his historical fiction means we’re soon woozy with the sounds and sights of that significant year”. Not the Daily Mail’s John Harding, though. “[The 60s] are unconvincingly evoked here, with pop music limited to the Beatles and references to Mr Fish fashion and hula hoops feeling tacked on,” he wrote. “The book is padded out with excerpts from Nat’s film script. Let’s hope it never gets made – it’s as flimsy as a go-go dancer’s miniskirt.”
Critics were also divided over the debut novel by Zinzi Clemmons, What We Lose, about a light-skinned black woman living in the US. “Luminescent,” raved Lucy Scholes in the Independent. “Sometimes fierce and angry, other times quiet and tender, it’s a story about identity organised around [a] central, momentous loss – that of a parent – that expands and contracts, as with the beating of a heart, to encompass meditations on race, sex and love … Intelligently and impressively conceived, and beautifully told.” “A memoir trying hard to pass itself off as fiction,” complained Claire Allfree in the Daily Mail. “Clemmons, who shares a lot of biography with her narrator, has a bracingly clear-eyed view on racial politics and the psychological dissonance of living between two cultures, and the tension between her steady prose and turbulent emotions is beautifully sustained. Yet I found it frustrating … Clemmons has yet to make this territory her own.” But the Sunday Times’s Phil Baker was impressed, on balance, finding that “sometimes the result feels like a struggle between grief and pretentiousness, but the frankness and intelligence of the writing win out”.