Top Ten Tuesday

10 “unique” and distinctive books

This week’s Top Ten topic relates to books that are unique. Impossible to come up with a list of 10 I thought given Christopher Booker’s premise that there are just seven basic plots in fiction:

  • Overcoming the Monster
  • Rags to Riches
  • The Quest
  • Voyage and Return
  • Comedy
  • Tragedy
  • Rebirth

Even adding in the permutations of setting, period, narrative voice and structure it would be hard, bearing in mind the millions of books in print in the world, to identify something truly unique  in the sense of being one of a kind. You have to dig deep to find that spark of truly unique thought that makes one novel unlike every other novel out there – how many novels are breakthrough texts in the vein of Joyce’s Ulysses? Even when an author finds an approach that’s different, it won’t stay that way for long –  bestselling novels and even complex ones can easily be imitated after all (just look at all the ‘me-too’ versions of Fifty Shades and The Twilight Series).

It got a bit easier when I started to think about the word ‘unique’ as being distinctive, remarkable, notable and extraordinary. I ignored experimental novels like Will Self’s Umbrella with its 400 pages of unbroken stream-of-consciousness dotted across three time frames and four points of view, and with barely a paragraph break. I appreciate authors trying to break free of constraints but often they turn out to have more fun than I do as a reader. I opted instead for novels that were individual in style, approach, narrative structure or voice.

The Luminaries by Eleanor Catton: Catton paid homage to the great traditions of 19th-century narratives with this 2013 Booker Prize winning novel even to the extent of including, like Dickens and George Eliot, a precis at the top of each chapter. Not even Dickens, known for his intricate plots, ever came up with a structure where each chapter shortens in length as the book progresses (chapter 1 seems to be 300 pages long) and where each character is ascribed a personality typical of an astrological sign.

How to be Both by Ali Smith: As superb as the writing was in this 2014 novel, what made it stand out was that two versions were published. Depending on which copy you picked up at random, readers either began with the story of a troubled teenager or with an Italian fresco painter. The two connected and twisted around each other but the reading experience was different according to the starting point.

Broken Glass by Alain Mabanckou: This is a stream of consciousness novel that breaks free of its associations with psychological introspection as in the hands of James Joyce and Virginia Woolf. In Mabanckou’s novel set in the Congo, words, images and literary allusions freewheel with barely a pause or a full stop in a teasing satire about political figures and Congolese men. It’s a novel that designed to amuse and entertain rather than encourage deep thoughts.

Dom Casmurro by Joachim Maria Mated de Assis: A classic of Brazilian literature this is a novel that completely messes up the idea of a linear narrative structure. Purporting to be an autobiography written by a lawyer from Rio de Janeiro, the chapters are not connected in any organised fashion so you have to pick up the clues of the story piecemeal. It sounds incoherent but it’s a blast in comparison to Finnegan’s Wake.

Harvest by Jim Crace: Creative writing classes advise you to be specific in order to make the narrative sound authentic. Crace confounds that advice with a novel that gives few clues about its setting or time period. Yes we can pick up signals that it’s dated before a time when common grazing land was enclosed by private landowners. But are we in the twelfth century or the thirteenth?  Astute readers who know their plants will spot that this is set somewhere in England but are we in the south or the west or the east? The very timelessness and lack of location give this story of a rupture in man’s relationship with the land, a universal quality.

Life of Pi by Yann Martel: An object lesson in how to tell a shaggy dog story convincingly – and win a Booker Prize for the effort. It tests our ability as readers to believe what seems unbelievable, offering us an alternative version of truth.

Midnight’s Children by Salman Rushdie: Anyone who has read – or attempted to read – Lawrence Sterne’s Tristram Shandy will know how frustrating/perplexing an experience it can be when a novelist keeps breaking up the flow of text with seemingly disconnected digressions. The abrupt and extreme changes in narrative flow and the multiple digressions and contradictions make reading Midnight’s Children a heady experience,

The Many by Wyl Menmuir:  It surprises me that this novella didn’t get more critical acclaim. It deals with a highly topical subject – environmental degradation – without coming across as rather preachy or Doomsday. The most significant aspect for me however was that it contains so many unresolved, unanswered questions. It’s effectively a mystery novel where the reader feels constantly they’re on unsettled ground.

Curious Incident of the Dog in the NightTime  by Mark Haddon: It’s the identity of the narrator that distinguishes this book.  Child/young person narrators are common features but until Haddon came along I don’t recall one who was also autistic. Christopher is a budding maths genius who understands numbers better than he understands people.  When his neighbour’s dog is killed he applies his logical skills to solve the murder in the style of his favourite (logical) detective, Sherlock Holmes. This is a book littered with diagrams and figures. Reading it is an education – you’ll learn how to find prime numbers, the reason the Milky Way looks like a line in the night sky and the mathematical reason for the change in population density in a school frog pond.

The Woman in White by Wilkie Collins:  I saved this one to last because it’s distinctive in more than one way. First it  introduced a new genre in the form of the sensation novel when it began serialisation in 1859, inspiring a number of imitators like Mrs Henry Wood’s East Lynne and Mary Elizabeth Braddon’s Lady Audley’s Secret. Secondly, few novels have quite as many narrators as this one – nearly all the principal characters get their turn at telling the story giving the effect we are hearing witness statements and presentation of evidence in a court of law.  And finally this is a novel that gave rise to a slew of merchandising tie ups. Back in the 1870s you could buy  Woman in White perfume, dress in Woman in White cloaks and bonnets and dance a Woman in White waltz or quadrille. For all its t-shirts, wizard wands and theme parks, Harry Potter went as far as a dance tie in….


What do you need to know about me? 1. I'm from Wales which is one of the countries in the UK and must never be confused with England. 2. My life has always revolved around the written and spoken word. I worked as a journalist for nine years then in international corporate communications 3. My tastes in books are eclectic. I love realism and hate science fiction and science fantasy. 4. I am trying to broaden my reading horizons geographically by reading more books in translation

22 thoughts on “10 “unique” and distinctive books

    • I didn’t fully understand the connection to astrology as a structural device…..

  • I liked reading about your reasoning on how you came up with your list. There can be many interpretations of “unique”! The only one I’ve read from your list is Life of Pi, which I loved.

    • You surprise me Naomi that its just the one you’ve read when I know you read extensively

  • I like the approach you’ve taken to this topic and tend to agree with you about style and structure being the ways in which some books are unique. I’ve read several on your list and loved Curious Incident, Wilkie Collins and the fantastic Midnights Children though I didn’t see eye to eye with Ali Smith or with The Luminaries!! If I was adding to it I’d suggest the wonderful HHhH by Laurent Binet, A Fools Alphabet by Sebastian Faulks and A Girl Is A Half Formed Thing by Eimear McBride – each is very different from the norm in style/structure and I loved all three of them!

    • I struggled with Midnights Children – but each time I thought I would give up, Rushdie would go and do something that got me interested again. HHhH and Fools Alphabet are indeed good additions. I’ve not read McBride so couldnt include that

  • You have given such interesting details about each book. I have read and loved some of these books, but didn’t realize there were so many distinguishing features about it (for example, The Woman in White). The ones I haven’t read – The Luminaries, Harvest, well, I am now more motivated than ever to get to them.

    • Harvest is one I loved. The Luminaries was a reasonably good read though a bit long….

  • I’m not sure how much head scratching I’d have to do to come up with a list of ten but here are two, one excellent, the other dire: Paul Auster’s Timbuktu written from the point of view of a dog which made me cringe and Harry Parker’s Anatomy of a Soldier, a life told through forty-five objects, which was breathtakingly good..

  • Sylvie Marie Héroux

    Life of Pi baffled me, whereas Midnight’s Children did not… I loved The Luminaries, I thought it was very clever, but rather straight-forward… I do like experimental forms, and mixed forms (narration mixed with poetry, for example, to use different ways of expressing what is going on and the various levels of it).

  • You’ve taken a very thoughtful approach to this topic. I agree that rather than just looking at truly unique structures, etc., I looked at books that really stood out. I’ve only read the last two. I thought about Curious Incident for the reason you share, and also The Rosie Project and Rubbernecker in that same vein, although Curious Incident is the best novel of the three. I also loved Woman in White, although I didn’t realize that it was unique for its time. I didn’t get through How to be Both, but I’ve always heard it was very good!

  • I think Curious Incident of the Dog in the Night-Time by Mark Haddon is a great choice 🙂

    • It’s an incredible success as a stage show which I find a bit odd – can’t see how it would translate to stage at all

      • I haven’t seen it, but the stills I’ve seen of the lighting and set they use to represent the inside of his head look amazing.

  • Like you, I have little tolerance for the more experimental styles. But I’ve read 7 of the 10 books you choose here, and for the most part enjoyed them very much. It’s rare to encounter fiction that feels truly new, so when you do it’s worth celebrating.

    • Which ones haven’t you read?
      As for experimental works, it depends on whether I think the author is just being experimental for the sake of it like with Ian McEwan’s last book which has a foetus as a narrator.

      • I haven’t read that particular Ali Smith, and I’m unfamiliar with Mabanckou and de Assis. (I loved Nutshell!)


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