Poor Magnus Mills, the marginalised maestro of contemporary British literature. Although his début, The Restraint of Beasts, landed on the Booker Prize longlist almost twenty years ago, his ten subsequent titles haven’t won him much of a mainstream profile. In a sense, that’s no surprise. Mills makes little effort to appeal to a popular readership. His novels, especially, are abstract and opaque, recursive and pedantic, short on story and long on incidents of no apparent significance, and they loudly and proudly disavow any sense of purpose or relevance beyond their own pages. Still, it’s sad that his work has attracted only a niche following. His books are bitterly funny, belonging to that breed of deadpan absurdism and not-quite-fabulism pioneered by Donald Barthelme, and their narratives are supremely structured around elaborate schemes of concealments and revelations.
If you’re one of the many who haven’t yet jumped aboard the bandwagon, Mills’ latest novel, The Field of the Cloth of Gold, might entice you to make the leap. It contains a good dose of everything that makes Mills worth reading, and in fact it not only embraces the tendencies that colour his backlist but also brings them to a sort of apotheosis. Longtime fans may the book a little irritating, perhaps a compendium of retreads of some of Mills’ greatest hits, but for newcomers it will open up the perfect port of entry to his entire body of work and to the array of bizarre scenarios he has spent his career creating. Continue reading