How to be both, Funny Girl and Nora Webster

I have always been a big Ali Smith fan, all her books are on my shelf. I think she is a very adventurous and challenging writer. I have only given two of her books (she blurs the line between traditional novels and short stories) five stars; "The Accidental" and "There but for the." Unfortunately in How to be both, she is at her experimental worst. I never thought there would be a day when I gave up on something written by Ali Smith (I even persevered with the highly academic "Artful") but this time I didn't get past halfway.

My book started with George, (other prints start with the other story) a cacophony of musings on bereavement and art. Her (yes "Her") section finishes halfway through the book, although there is no ending as such. It was an almighty struggle to find anything to enjoy. The occasional clever constructions of language (a Smith hallmark) were not enough to find the way through the mess. So when it came to the second half and the artist from the fifteenth century turns up, I gave up. I have more than enough great books to read without wasting my time on this stuff. Ali, please read again "A Visit from the Goon Squad" and take note.

I cannot help but wonder how this book got rave reviews and won such respected prizes. I started to wonder if it was me, or something about the Emperor's new clothes? But then again, I'm a big fan of the author. Only not this time.

P.S. When you pick a French singer of the 1960's, try someone better than just the photogenic Sylvie Vartan, the blonde on the cover. Such as her husband Johnny Hallyday? Just started Nick Horby's latest "Funny Girl". What a wonderful relief. It's already brilliant.

Yes it was. I always look forward to a new Nick Hornby and his latest was as good as ever. Witty, smart and consistently highly readable, Funny Girl has some big emotional tugs all the way through. But mainly it's like being wrapped in a warm fleecy rug on a cold winter's night. The book is partly a tribute to the iconic comedy writers Ray Galton and Alan Simpson (Hornby gives them a special mention in the acknowledgments at the end) and the author does them proud. So why only four stars? It is no literary masterpiece, but unlike the last book I read, I loved it.

Not nearly as good as his Brooklyn, Colm Toibin's Nora Webster was pretty slow going even for a family drama. The first third was quite boring as the author obviously wanted to portray the recently bereaved Nora in a somber light. But then the story picks up and from then on was mainly very good. There was still a tendency to delve into some pointless past with some less interesting descriptions of place. But I liked how Nora gradually gained confidence and became the person she was before she married. It often felt like you were her late husband listening from above, and cheering her on.