Charlotte Wood

Increasingly, I think ‘reader satisfaction’ is code for the smoothing out of lumps and bumps of every kind, in pursuit of a soothing digestibility.

I still don’t fully understand The Transit of Venus, which I suspect is why I will keep returning to it throughout my life. It has been fascinating to observe, in other writers’ responses, how often they remark on seeing its greatness only on a second visit – often decades after first buying or reading it.

The more I go on, the more I am convinced that a great book is one which leads its readers away from the worn path of what they already know, to a wild and unfamiliar place where new logics and understandings can take hold. But of course there is nothing new in this – it is what any gifted editor has always known: that each book is its own wild creature, and that sometimes it is in disorder and inconsistency and ambiguity where the greatest art lies.

Wood’s writing continues to grow in assurance which each new work: never fussy, but grounded, and intensely physical.

‘Charlotte Wood’s fifth novel The Natural Way of Things is a virtuoso performance, plotted deftly through a minefield of potential traps, weighted with allegory yet swift and sure in its narrative advance. In Wood’s fictional imagining, the mechanism of punitive control is simply to remove those whose sexuality has become a provocative inconvenience to powerful men. It’s galling, but is it impossible?’