From spoof monarch to porn tycoon, the actor narrator goes to town on the larger-than-life characters in this Booker-nominated satire

In the 2003 novel Yellow Dog, Xan Meo is set upon by two men in a pub who cosh him over the head: “Like the statue of a fallen tyrant, he crashed sideways into the damp paving, and lay still.” Meo is a writer and actor whose late father was a dangerous gangster; the attack is in revenge for Meo naming an old associate of his father in print. Meo survives, though the injury leaves him with an altered personality. Where he was previously a conscientious husband and father, now he is a chip off the old block.

While Meo languishes in hospital, King Henry IX – who is struggling to conceal his boredom with the job – is informed that images of his 15-year-old daughter in the bath are in circulation. And Clint Smoker, star reporter and gossip peddler at the tabloid newspaper the Morning Lark, gets an unexpected tipoff.

The author’s new trilogy continues her aunt’s beloved family saga. What would happen next to the sprawling cast of characters ... and could she pull it off?

In the late 1980s Elizabeth Jane Howard was wondering what to write next. Jane, as she was always known, was at that time the author of seven novels. Her debut, The Beautiful Visit, had won the John Llewellyn Rhys prize in 1951 when she was 28 years old and The Long View (1956) was one of the first novels written with reverse chronology. Her talent was somewhat overshadowed in a tawdry world by her drop-dead beauty and by her having briefly been an actor (and by the famous lovers and husbands she walked out on, including Sir Peter Scott, the ornithologist and conservationist, in 1946, and Kingsley Amis, who was then himself a famous novelist, in 1983).

Stuck, she asked her stepson Martin Amis which of two projects she should go for: an updated version of Sense and Sensibility, or a family saga based on her own life? He said, do the family saga. Jane’s family project developed into the Cazalet Chronicles: five volumes in which she fictionalised her life’s experience, divided between three young female cousins, Polly, Clary and Louise, and a cast of 52 more named characters, set between London and a grandparental family home in Sussex.

In an unexpected twist, a Hollywood epic has contributed to Britain’s best-ever half-year in poetry sales

In a short story called Career Move, published in the New Yorker in 1992, Martin Amis imagined a world in which screenwriters wrote for little magazines and earned a pittance while poets were global superstars. Amis’s story, a wonderfully ironic inversion of the time-honoured norm, was surprisingly prescient: the film and TV industries have been struggling, with screenwriters facing contracting outlets for their creations, whereas poets are now big business.

The Bookseller reported recently that poetry sales were at a historic high. Part of the increase can be attributed to Christopher Nolan’s film The Odyssey, which has made Homer hot: editions of The Odyssey and its prequel, The Iliad, have garnered almost £1m in book sales in the UK this year. (As well as valiantly trying to keep the ailing film industry afloat, Nolan has also created a craze for epic poetry.) But Nolan’s film does not solely account for the boom in poetry sales. Even without the Homer run, sales of poetry texts and anthologies were still up by 7.2% from what was historically already a very high base.

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