If you have read or listened through any of his previous masterpieces like "Solar", "Amsterdam", "Enduring Love" or "Saturday", then you know (partially) what to expect, though each novel definitely has its very definite style, theme and twist. Ian McEwan is one of the most intelligent, sophisticated, and enthralling authors of our lifetime. A fair review would give this 2.5 stars overall, but because I can't do that, I've rounded it up, for old times sake.Įspionage - romance - literature - all in one! The truth is that I was reluctant to pick up this book because of the last few from McEwan, but the narrator's credentials convinced me otherwise. As for the lovely Juliet Stevenson, she gives a wasted, but accomplished performance, as one would expect. Those who care to listen can judge for themselves. For all that, I won't give the ending away, except to say that the publishers' blurb is all you need to know about the plot. By Chapter 19 (of 22) the "twist" was so obvious I could barely be bothered to listen to the last two Chapters. McEwan tried to give it away in the second Chapter and, by mid way through the book when he extemporises the evil of an unscrupulous ending, it is plain that is not what was going to happen here. I disagree with those reviews that thought the "twist" was surprising. The language is still good and his trademark character introspection is still there. Having said that, this is not a "bad" book it's just not up to McEwan standard.
Alas, I can't manage that defence for Sweet Tooth. To them, I have staunchly defended McEwan's wit, intelligence and style.
I have been resisting the steadily increasing number of my friends who also liked Atonement, but who are now complaining about the quality of recent works (Saturday and Solar, for example).
However, I regret to write that title is unfortunately accurate. I loved Amsterdam and Atonement, of course. I am a fan of Ian McEwan's works, but you wouldn't know that from the title to this review.
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