That Mark Haddon's first book after The Curious Incident of the Dog in the Night-Time was a poetry collection perhaps came as a surprise to his legions of fans; that it is a collection of such virtuosity and range did not. The gifts so admired in Haddon's prose are in strong evidence here too - the humanity of his voices, the dark humour and the uncanny ventriloquism - but Haddon is also a writer of considerable seriousness, lyric power and surreal invention, and The Talking Horse and the Sad Girl and the Village Under the Sea combines bittersweet love-lyrics, lucid and bold new versions of Horace, comic set-pieces, lullabies, wry postmodern shenanigans (including a note from the official board of censors on "18" certificate poetry), and an entire John Buchan novel condensed to five pages. Consolidating Haddon's reputation as our most powerful myth-weavers and spell-makers, The Talking Horse and the Sad Girl and the Village Under the Sea also confirms him as one of the most outrageous and freewheeling imaginations at work in contemporary literature.

That Mark Haddon's first book after The Curious Incident of the Dog in the Night-Time was a poetry collection perhaps came as a surprise to his legions of fans; that it is a collection of such virtuosity and range did not. The gifts so admired in Haddon's prose are in strong evidence here too - the humanity of his voices, the dark humour and the uncanny ventriloquism - but Haddon is also a writer of considerable seriousness, lyric power and surreal invention, and The Talking Horse and the Sad Girl and the Village Under the Sea combines bittersweet love-lyrics, lucid and bold new versions of Horace, comic set-pieces, lullabies, wry postmodern shenanigans (including a note from the official board of censors on "18" certificate poetry), and an entire John Buchan novel condensed to five pages. Consolidating Haddon's reputation as our most powerful myth-weavers and spell-makers, The Talking Horse and the Sad Girl and the Village Under the Sea also confirms him as one of the most outrageous and freewheeling imaginations at work in contemporary literature.

That Mark Haddon's first book after The Curious Incident of the Dog in the Night-Time was a poetry collection perhaps came as a surprise to his legions of fans; that it is a collection of such virtuosity and range did not. The gifts so admired in Haddon's prose are in strong evidence here too - the humanity of his voices, the dark humour and the uncanny ventriloquism - but Haddon is also a writer of considerable seriousness, lyric power and surreal invention, and The Talking Horse and the Sad Girl and the Village Under the Sea combines bittersweet love-lyrics, lucid and bold new versions of Horace, comic set-pieces, lullabies, wry postmodern shenanigans (including a note from the official board of censors on "18" certificate poetry), and an entire John Buchan novel condensed to five pages. Consolidating Haddon's reputation as our most powerful myth-weavers and spell-makers, The Talking Horse and the Sad Girl and the Village Under the Sea also confirms him as one of the most outrageous and freewheeling imaginations at work in contemporary literature.