Connect with us

Culture

F1 midseason driver rankings: Young drivers ascend while veterans fight back

Published

on

F1 midseason driver rankings: Young drivers ascend while veterans fight back

After visiting four continents, covering 14 races, and seeing seven different drivers win, the paddock enjoys a well-deserved rest during the summer shutdown. This mandatory 14-day break, during which teams are prohibited from making any changes to the car’s performance, is a crucial period for reflection and planning. It’s a time when teams can’t do any work on the car’s performance, but it’s hard to imagine some won’t reflect on their performance ahead of the final 10 races.

The expectation heading into 2024 was that Max Verstappen would continue to dominate. Instead, the Ferrari, McLaren, and Mercedes drivers have won races this year (Lewis Hamilton is the only two-time 2024 race winner out of those six competitors). McLaren is closing the gap to Red Bull thanks to the consistency of Lando Norris and Oscar Piastri, and the fight at the top of the grid is tight.

There have been plenty of surprises up and down the grid compared to this time last season. Here are our top 10 drivers from the first 14 races of the season. As always, let us know your thoughts in the comment section at the bottom.

Loading

Try changing or resetting your filters to see more.

Advertisement

It hasn’t quite been the dominant Max Verstappen of 2022 or 2023 when F1 Sundays became routine: lights out, wait 90 minutes, and hear the Dutch national anthem. Yet he has remained at the very top of his game, making up for Red Bull’s slip in performance compared to its rivals.

The early phase of the season followed the well-worn script, as Verstappen won at a canter at Bahrain, Saudi Arabia, Japan and China. But since the start of F1’s European season, he’s been forced to dig deep and produce some terrific displays to keep winning. Winning at Imola and Barcelona despite the threat of Lando Norris in the McLaren required Verstappen to be at his very best; he didn’t miss a beat. Even a race like Spa, where he could only finish fourth, took a mighty effort from 11th on the grid.

It hasn’t been a spotless season so far by any means. Verstappen’s clash with Norris in Austria and his move on Lewis Hamilton in Hungary showed that his aggressive edge, not required in the past two years, is still there—not always to his benefit.

Despite Red Bull’s recent performance dip and McLaren’s emergence, Verstappen has extended his points lead in five of the last six races. He may no longer have the outright quickest car, but Verstappen remains remarkably hard to beat.

Photo:

Advertisement

(GIUSEPPE CACACE/AFP via Getty Images)

(GIUSEPPE CACACE/AFP via Getty Images)

Five seasons, more than 100 grands prix, nearly 1,900 days. Lando Norris waited a long time for his first F1 win since joining the grid in 2019, finally coming at the Miami GP this year.

Since that moment, the McLaren driver has taken the battle to Verstappen. The talent is evident, and the car is strong. He should have more than one win to his name this year. There’s been a few close calls, like at the Spanish GP when he felt “I should have won. I f—d the start.” More recently, he also dropped at the start of the Belgian GP after starting fourth, losing multiple spots after misjudging the exit of Turn 1.

“I’ve given away a lot of points over the last three or four races just because of stupid stuff—mistakes and bad starts,” he said after the race. “I don’t know why. It’s just silly things, it’s not even difficult stuff. It’s just Turn 1, trying to stay out of trouble, trying to make sure there’s a gap and not get hit.”

Norris can fight for wins, but small mistakes and iffy starts have proved costly, points-wise. Only 78 points separate the McLaren driver and Verstappen. Because the Dutchman operates at a high level, these little details matter.

Advertisement

Photo:

(Qian Jun/Xinhua via Getty Images)

(Qian Jun/Xinhua via Getty Images)

Watching Piastri this year, you’d be astonished to learn this is only his second season on the F1 grid. The Australian takes everything thrown at him gracefully and calmly, even as McLaren’s surge puts him amid a constructors’ title fight going into the remainder of the season.

Piastri hasn’t quite been on Norris’s level this season, trailing 11-3 in their qualifying head-to-head, but the gap is typically marginal. He was the only driver capable of challenging Charles Leclerc through the Monaco weekend, ending up P2, and finally got the victory he deserved in Hungary despite McLaren’s best efforts to make a mess of the situation.

McLaren’s belief that it has the best driver lineup in F1 has been justified so far this year. We always knew how good Norris was, but Piastri’s ability to duke it out at the front was something we had yet to see in F1. Now, it’s abundantly clear just how good he is. Piastri’s mistakes are rare, and if he can find that extra tenth, then it may be a more even split between him and Norris through the closing 10 races.

Advertisement

Photo:

(ATTILA KISBENEDEK/AFP via Getty Images)

(ATTILA KISBENEDEK/AFP via Getty Images)

In true Charles Leclerc fashion, the Monegasque’s season has been one of dizzying highs and gutting lows, rarely leveling out into any sustained, consistent form. Not that it’s entirely his fault.

The emotional home victory in Monaco, delivered through the tears in his eyes in the closing laps as he achieved the childhood dream he shared with his father, looks set to kickstart Leclerc’s season. Ferrari seemed to be back in contention at the front, building on a steady start to the year.

However, the upgrades on the SF-24 car have yet to work as anticipated. Even if the team can see more performance in the car, it is a) not enough relative to Mercedes, McLaren or Red Bull and b) hard to harness, particularly with a return to the bouncing for the first time in years.

Advertisement

Leclerc admitted after Silverstone that the recent races had been “worse than a nightmare,” but he has continued to perform. His lap at Spa was a significant achievement. He took pole after Verstappen’s penalty before finishing third in what is currently the fourth-fastest car. Leclerc remains Ferrari’s best asset, even if luck has not been with him recently.

Photo:

(Ryan Pierse/Getty Images)

(Ryan Pierse/Getty Images)

This is George Russell’s strongest season, with fewer mistakes than in 2023.

Once again, the year didn’t start smoothly for Mercedes, which seemed to still struggle with its car concept. However, it brought an upgrade to Monaco that came alive at the following race in Canada, where George Russell put the W15 on pole position.

Advertisement

But after leading for 20 laps and holding an advantage, the Briton lost it on the straight when Norris breezed past and to Verstappen moments later when Russell misjudged the final chicane. Later in the race, as the track was drying following some rain, Russell was hunting down the lead again. Still, he went wide at Turn 8, allowing Norris to slip past him again for second.

“For me, it was just one too many mistakes at key moments that cost us a shot of fighting with these two towards the end of the race,” Russell said after securing his first 2024 podium finish. Mistakes do happen, but drivers need to be able to seize a moment when the opportunity presents itself. Russell had the chance to do so two races later at Austria. When Verstappen and Norris tangled, the Mercedes driver zipped past into the lead and held off Piastri, giving Mercedes its first win since the 2022 season.

Even with a few mistakes this season, Russell has stayed ahead of his teammate, outqualifying and finishing ahead of Lewis Hamilton in most races. But he has endured heartbreaking moments, like a DNF at Silverstone due to a suspected water system issue and disqualification after winning the Belgian GP due to an underweight car.

Photo:

(Mark Thompson/Getty Images)

Advertisement

(Mark Thompson/Getty Images)

Carlos Sainz’s season has been an absolute roller coaster.

It started before Bahrain when news broke that Hamilton would join the Prancing Horse in 2025, throwing Sainz’s F1 future into question. This question followed him throughout the first half of the season, and the speculation ran rampant. It wasn’t until after Spa that he announced he’d join Williams next season. But on top of the rumor mill, the Spaniard missed a race after being sidelined with appendicitis in Saudi Arabia, with Ollie Bearman competing in his place.

In Spa, Sainz admitted that “it hasn’t been easy having to deal with, first of all, having to miss a race, but mainly with all the discussions about my future going on in the background.” But he still has shown up and performed decently well, considering the circumstances. Sixteen days after surgery, Sainz won the Australian GP, capitalizing on the moment after Verstappen retired early.

Ferrari had a competitive car early in the season, but Sainz’s results began falling away as others progressed more than the Italian crew. But in the teammate battle, Leclerc outqualified Sainz, 8-5, and finished ahead of the Spaniard, 7-5, in races they’ve been classified.

Photo:

Advertisement

(Peter Fox/Getty Images)

(Peter Fox/Getty Images)

Seventh may seem harsh. After all, Hamilton has won two of the last three races and ended a two-and-a-half-year-old win drought. But this hasn’t been his finest season.

Russell has remained the quicker of the two Mercedes drivers, leading their qualifying head-to-head 10-4. He’s also 7-4 up on Hamilton in races, and both have been classified.

Hamilton has been open about his struggles, even as the Mercedes car has improved, admitting that it feels like it is on more of a knife-edge compared to what Russell has reported. This is partly because Hamilton’s driving style hasn’t quite gelled with this generation of cars, leading to more time to adjust and adapt. As Hamilton put it at Spa, “I just keep trying to drive the way I want to drive, but then I realize it doesn’t always work.”

But Silverstone was an emphatic reminder of Hamilton’s enduring quality and class. He made the most of the tricky conditions to win on merit, capitalizing on Red Bull’s struggles and McLaren’s strategy miscue. He will want to harness more of those displays through the second half to sign off from his time at Mercedes on a high.

Advertisement

Photo:

(Rudy Carezzevoli/Getty Images)

(Rudy Carezzevoli/Getty Images)

Nico Hülkenberg made the most of his full-time return in 2023 to show he’d lost none of his edge in his years away from F1. But this season has made it unthinkable that he was ever without a seat.

Haas never expected to be a regular points-scorer this year, owing to the late development of its car and the off-season changes. But with a car that’s actually raceable, not chewing through its tires, Hülkenberg has flourished, going under the radar as one of this year’s most impressive performers.

Hülkenberg has scored 22 of Haas’s 27 points, including two sixth-place finishes. He’s also finished 11th on five occasions and, remarkably, reached Q3 more times than he’s gone out in either Q2 or Q1, fighting higher up the grid than he or Haas should be. See Hülkenberg’s last-lap pass on Sergio Pérez (who did have damage) in Austria to grab P6.

Advertisement

Sauber and Audi may have missed out on Carlos Sainz, their top target for next year, but the first half of this season shows that by already signing Hülkenberg, they’ll have a quality driver ready for the start of the factory program in 2026.

Photo:

(BENJAMIN CREMEL/AFP via Getty Images)

(BENJAMIN CREMEL/AFP via Getty Images)

Yuki Tsunoda enters the summer break with a contract for next year (announced in June) and outperforming his RB teammate, veteran Daniel Ricciardo.

He started the season strong, securing the team’s first points in Australia with an eighth-place finish, which was later upgraded to seventh after Fernando Alonso’s penalty. Those six points pushed RB ahead of Haas for sixth in the constructor standings. RB remains ahead of Haas during the summer break, partly thanks to Tsunoda scoring 22 out of the team’s 34 points.

Advertisement

Tsunoda has advanced to Q3 eight times this season and secured seven-point finishes, the highest being P7 at Melbourne and Miami. Between the Australian GP and Monaco at the end of May, Tsunoda finished in the top 10 in five of those six races. He is one of the stronger drivers out of the midfield this year but has made mistakes. Take the Canadian GP, for example. He was in points contention before he locked up and spun, eventually ending the race P14.

Photo:

(Rudy Carezzevoli/Getty Images)

(Rudy Carezzevoli/Getty Images)

Williams’ 2024 is very different from last season, and yet Alex Albon still has managed to squeeze four Q3 appearances and two top 10 finishes, amounting to four points, out of the FW45. This trend continues from 2023, when Albon continued to put together high-level performances and extract the maximum out of the car. He’s out-qualified teammate Logan Sargeant, 14-0.

Some of his races have been affected by no fault of his own, like the wheel nut issue and penalty at Imola and Carlos Sainz spinning in Canada. During that latter race, Albon pulled off an impressive double overtake on Daniel Ricciardo and Esteban Ocon, and he was in the fight for points before the Ferrari driver spun and made contact with Albon.

Advertisement

One big moment, though, that’ll stand out from the first half of the year is what happened in Australia. The heavy crash in practice resulted in significant damage. Because Williams didn’t have a spare chassis at that race, it had to withdraw the car. And the team opted to give the remaining car to Albon, leaving Logan Sargeant on the sidelines.

Albon can extract the maximum from the car, even under pressure from higher-performing competitors. But what he needs to be a consistent top-10 contender and compete alongside the top teams is just that—that type of car.

Photo:

(BENJAMIN CREMEL/AFP via Getty Images)

(BENJAMIN CREMEL/AFP via Getty Images)

Advertisement

Culture

Book Review: ‘Israel: What Went Wrong?,’ by Omer Bartov

Published

on

Book Review: ‘Israel: What Went Wrong?,’ by Omer Bartov

The result has been a terrible irony for a country that was founded as a refuge from intolerance: “How is it that the appeal to humanitarianism, tolerance, the rule of law and protection of minorities that characterized the beginning of Jewish self-emancipation gradually acquired all the traits of the relentless, remorseless and increasingly racist ethnonationalisms from which Zionism sought to liberate European Jewry?”

To answer this painful question, Bartov uses all the tools at his disposal, weaving together history, personal anecdotes, even some literary criticism, including a close reading of a poem — by Hayim Nahman Bialik and known to “every Israeli schoolchild” — about the perils of vengeance that has been misinterpreted and warped for political ends. Bartov writes unsparingly about Hamas’s murderous attacks, in which about 1,200 Israelis were killed and about 250 others taken hostage, which he calls an unequivocal “war crime and a crime against humanity.” It was a “slaughter of innocents” that “evoked collective memories of massacres and the Holocaust.”

Indeed, in a May 2024 poll of Israelis that he cites, more than half of the respondents said Oct. 7 could be compared to the Holocaust, and the Israeli media repeatedly depicted the massacre as a pogrom. Bartov understands why — for traumatized people, new traumas will revive old ones — but he maintains that the label is a category mistake. Israel is a state; it has an army, laws and government. A pogrom “is a mob attack, condoned or supported by the state authorities, against a minority lacking any attributes of a state.” (“To be sure,” he adds, “pogroms have occurred within the territories controlled by Israel, but when they take place, they were and are being carried out, with increasing frequency and ferocity, by settlers in the West Bank.”)

Israel doesn’t have a constitution. After its founding, its government was supposed to codify the protection of religious freedom and minority rights, but efforts to adopt a constitution were waylaid and arguably thwarted by political figures like David Ben-Gurion, the country’s first prime minister. Bartov believes that a constitution could have made Zionism “superfluous” after it succeeded in establishing a state that could be a refuge for Jews. Citizens could have turned toward the task of building a “just society” that aimed at “peace, truth and reconciliation with the Palestinians.”

This sounds nice, if fanciful; constitutions don’t magically prevent authoritarianism. Not to mention that attacks by surrounding Arab states did nothing to alleviate Israelis’ sense that they were constantly embattled.

Advertisement
Continue Reading

Culture

Poetry Challenge Day 3: W.H. Auden, The Poet and His Technique

Published

on

Poetry Challenge Day 3: W.H. Auden, The Poet and His Technique

Advertisement

Now that we’ve memorized the first half of our poem, let’s learn a little more about the man who wrote it. (Haven’t memorized anything yet? Click here to start at the beginning.)

For most of his life, Wystan Hugh Auden (1907-73) was a star. He was widely read, quoted, argued over and gossiped about, achieving a level of fame that few writers now — and not many then — could contemplate. His New York Times obituary did not hesitate to call him “the foremost poet of his generation.”

Celebrity of that kind is ephemeral, but Auden’s words have continued to circulate in the half century since his death. Maybe you’ve heard some of them before. In the 1994 film “Four Weddings and a Funeral,” his poem “Funeral Blues” is recited by Matthew (John Hannah) over the casket of his lover, Gareth (Simon Callow).

Advertisement

In the Gen-X touchstone “Before Sunrise” (1995), Jesse (Ethan Hawke) regales Celine (Julie Delpy) with an impression of Dylan Thomas reading Auden’s “As I Walked Out One Evening.”

Advertisement

Castle Rock Entertainment

In both these scenes, the characters use Auden’s poetry to give voice to a longing for which they otherwise might not have words. Auden’s poetry is often useful in that way. It speaks to recognizable human occasions, and it isn’t always all about him.

Advertisement

“The More Loving One” might not be something you’d quote at a funeral or on a date, but it is almost effortlessly quotable — the perfect expression of a thought you never knew you had:

Admirer as I think I am 

Advertisement

Of stars that do not give a damn, 

I cannot, now I see them, say 

I missed one terribly all day. 

Advertisement

Ken Burns, filmmaker

The word “I” occurs five times in this stanza, but we don’t know much about the person speaking. His personality is camouflaged and revealed by craft.

Auden, born in the northern English cathedral city of York, began practicing that craft as a schoolboy, and honed it at Oxford. Not long after graduating in 1928, he was anointed by critics and readers as the great hope of modern English poetry. A charismatic, divisive figure, he gathered acolytes, imitators and haters.

Advertisement

He swam in the intellectual and ideological crosscurrents of the 1930s, drawing Marxism, psychoanalysis and mystical nationalism into his writing. Assimilating a daunting array of literary influences — Old English and Ancient Greek, French chansons and Icelandic sagas — he forged a poetic personality that was bold, confiding and seductive.

His love poems of that era were candid, discreet dispatches from a calendar of feverish entanglements, wrenching breakups and one-night stands, usually with other men. He also wrote about the feverish politics of the time — class conflict; the rise of fascism; the Spanish Civil War — in ringing rhetoric he later disavowed.

In 1939 Auden moved to America, acquiring U.S. citizenship after World War II. In New York he fell in love with Chester Kallman, a young American writer who became his life partner.

Advertisement

W.H. Auden (left) and Chester Kallman in Venice, in 1949. Stephen Spender, via Bridgeman Images

Advertisement

It was a complicated relationship, starting as a passionate affair and enduring through decades of domestic companionship and creative collaboration. Kallman’s refusal to be sexually exclusive wounded Auden, a dynamic that poignantly shades this poem’s most memorable couplet:

If equal affection cannot be, 

Advertisement

Let the more loving one be me. 

Yiyun Li, writer

In America, Auden distanced himself from the radical politics of his earlier career and embraced Anglican Christianity. His intellectual preoccupations shifted toward religion and existentialism — to the kinds of big questions we think about late at night, or when we look to the sky.

Advertisement

Making the leap from wunderkind to grand old man without seeming to stop in middle age, he became a mentor for several generations of younger poets. He was a prolific and punctual contributor of reviews and essays to various publications, including this one, for which he wrote a rave of J.R.R. Tolkien’s “The Fellowship of the Ring” in 1954.

Through it all, Auden devoted fanatical attention to the finer points of poetic technique. His notebooks are full of numbers, word lists and markings that show just how deep this commitment went. He counted every syllable, measured every stress.

Advertisement

Scansion marks from one of Auden’s notebooks, dated 1955-65. Copyright by The Estate of W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. W.H. Auden papers, Berg Collection, The New York Public Library. Photograph by Angelina Katsanis for The New York Times.

He gathered rhymes and other words with a lexicographer’s zeal and a crossword puzzler’s precision.

Advertisement

Lists of rhyming words from another of Auden’s notebooks, dated 1957-59. Copyright by The Estate of W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. W.H. Auden papers, Berg Collection, The New York Public Library. Photograph by Angelina Katsanis for The New York Times.

Advertisement

The third stanza of “The More Loving One” is a miniature showcase of Auden’s skill. Of the four epigrams arrayed before us, it may be the most technically perfect.

Admirer as I think I am 

Advertisement

Of stars that do not give a damn, 

I cannot, now I see them, say 

I missed one terribly all day. 

Advertisement

W.H. Auden, poet

The rhythm is flawless, without an extra syllable or an accent out of place. The grammar is also fastidious. Here is a single sentence, springloaded with equivocation, beginning with one idea and sliding toward its opposite.

This quatrain is the poem’s ideal formal representation of itself, a kind of proof of concept: four lines of impeccable iambic tetrameter in an AABB rhyme scheme. The by-the-book regularity of this stanza should give you a leg up in memorizing it, and you can test yourself below!

Advertisement

But the rest of the poem is an argument against perfection, just as it is a celebration of uncertainty and humility — as we’ll see tomorrow.

Your first task: Learn the first two lines!

Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.

Question 1/6

Advertisement

Let’s start with the first couplet in this stanza. Fill in the rhyming words.

Admirer as I think I am 

Of stars that do not give a damn, 

Advertisement

Tap a word above to fill in the highlighted blank.

Advertisement

Ready for another round? Try your hand at the 2025 Poetry Challenge.

Advertisement

Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.

Illustrations by Daniel Barreto.

Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.

Advertisement
Continue Reading

Culture

Book Review: ‘Permanence,’ by Sophie Mackintosh

Published

on

Book Review: ‘Permanence,’ by Sophie Mackintosh

PERMANENCE, by Sophie Mackintosh


Sophie Mackintosh’s novels are always speculative in some way, with either the author or her characters forging a world governed by its own logic and rules. In their boldness and their ability to convey the violence of patriarchy, they recall the work of Jacqueline Harpman — not only the cherished “I Who Have Never Known Men,” but also “Orlanda,” her wild riff on Virginia Woolf’s “Orlando.”

Like Harpman, Mackintosh has a spare and confident hand. Her work is sometimes described as dreamlike; certainly, its contours are sketched with rapidity and confidence and relatively little detail. Her prose operates according to the same principle, at once lyrical and precise, like this from her second novel, “Blue Ticket”: “On the ground was a dead rabbit, disemboweled. Still fresh, the dark loops of its insides glistening like jam.”

When Mackintosh writes about masculine power, she does so in a way that articulates both its seductions and its terrors. Her newest novel, “Permanence,” is less explicitly concerned with the structure of patriarchy, but it has the same erotic charge as her earlier work, the same preoccupation with social prohibitions and the thrill that comes from breaking them.

Like “Blue Ticket,” “Permanence” turns on a highly pronounced binary. In “Blue Ticket,” adolescent girls are issued either a blue or white ticket on the day of their first period. A white ticket denotes a future of marriage and children, a blue ticket one of work — even, it seems, a career. The divide is stark and self-evidently faulty, its coarseness an expression of the brutalizing regime the characters are trapped in.

Advertisement

“Permanence” features a similar opposition, neatly delineated. Clara and Francis are conducting an illicit affair. One morning, they wake up in an alternate reality where they are openly living together. The novel shuttles between these two worlds, one ordinary and familiar, the other a curdled paradise for adulterers.

The thinness of this “city of impermanence” — “fluid, cohesive and yet disparate” — emerges at once. The sky is “uncannily blue,” the newspaper bears no date, the edge of the city is marked by “a slick ring of water, as far as the eye could see.”

Still, a boundary cannot keep the other world from seeping in. Initially, elegantly, this is a problem in the structure of desire. Having been provided the life they dreamed of, in which their longing for each other is fully met, Clara and Francis begin to experience, to their uneasy surprise, boredom and discontent.

Without absence, the intensity of their desire for each other wanes. They even begin, or at least Francis does, to long for the relief of their ordinary life: “Another day ahead of them of petting, giggling, lying around. It seemed insubstantial suddenly, though only the day before he had felt he could do it forever.”

Soon enough, it becomes clear that the problem between Francis and Clara doesn’t lie in the outside impediments of the world they live in, but in their relationship itself. Francis remains troublingly himself — a married father of a small child, reluctant to leave his family, however much he is in love with Clara: “He did love her, and he did want to be with her. … But he already had reality elsewhere, reality which he sometimes felt trapped by, he would admit, but which he could not truly imagine cutting loose.”

Advertisement

“Permanence” might seem like an outlier in the current array of articles and books about open marriages and polyamory, and at first glance the line of distinction between the two worlds, much like the division between blue and white tickets, seems almost old-fashioned. But as Mackintosh persuasively illustrates, the familiar emotions of jealousy, infatuation and eventually indifference — these persist and can flourish in any relationship, however free of prohibition.

“You want this,” Clara tells herself, and then, “You no longer want this,” as it occurs to her that “maybe it was in absence that they loved each other best, and most honestly.”

In her work, Mackintosh devises scenarios that are bold and almost aggressively simplified. But her terrain is complexity and contradiction, and in her hands these oppositions twist and turn in on themselves.

It’s hardly a surprise when the central character in “Blue Ticket” decides to eschew her designation and have a child, declaring, “True and false were no longer opposing binaries. My body was speaking to me in a language I had not heard before.” Nor is it especially startling when discontent chases Clara and Francis from one world to the other, unraveling their relationship.

What is more disquieting is the surreptitious ease with which Mackintosh’s speculative worlds start to align with our own, allowing the reader to see how so many of the old prohibitions and conventions — around choice, around marriage — remain, somehow, firmly in place.

Advertisement

That moment of recognition, in a landscape that is startlingly alien, is the source of Mackintosh’s power as a writer.


PERMANENCE | By Sophie Mackintosh | Avid Reader Press | 240 pp. | $28

Continue Reading
Advertisement

Trending