There has been a lot of publisher’s hype surrounding this novel, and as far as I can see, it is all justified. I think that this was one of the best novels I have read for a long time. It reminded me at times of John Lanchester’s Capital (another favourite of mine).

The principal figure is Campbell Flynn, an academic art critic whose recent biography of Vermeer has drawn considerable critical acclaim and unusual commercial success. Gratifying though this is, Flynn is in need of a far greater economic upturn. To this end, and in a marked divergence from his previous works, he has written a self-help book, His publishers assure him that the book is likely to be a huge success. He is anxious, however, to conceal his identity as the writer, and, by chance, meets a successful actor who has just concluded a long run in a highly popular television series. The actor is persuaded to be ‘the face’ of the book, and in exchange for one third of the royalties, agree to undertake all the promotional activities including media interviews and book-signing events.

In the meantime, Flynn finds himself becoming more closely involved with one of his students, Milo Mangasha. Milo is half Ethiopian, half Irish, and has been taking one of Flynn’s courses as a subsidiary subject while pursuing his computer engineering degree. Milo introduces Flynn to radical new schools of thought, which push the older man in new intellectual and political directions. Meanwhile, there are all sorts of awkward strands from Flynn’s family life rapidly unravelling.

There are far too many subplots to capture in a review or synopsis, but they are all interwoven with great dexterity, many of them centring on Caledonian Road, a long thoroughfare extending from Kings Cross through Islington and up towards Highbury. As it happens, I know the Caledonian Road very well, having driven along it daily for many years as part of my regular commuting journey to Westminster. O’Hagan captures it marvellously, in its unusual blend of pockets of great opulence and others of deep deprivation.

The book features a huge cast of characters – in fact, the author offers a list of principal figures at the start of the book with more than sixty names – but they interact effectively. All strata of society feature, from hereditary peers, minor aristocracy, Russian oligarchs, students and rival street gangs. This is a rich literary feast, and one I am sure I will be revisiting shortly. ( )

London is changing, the old guard of family wealth is being usurped by new foreign wealth. Traditional roles are being sidelined and art, fashion and crime is becoming the role of youth. Meanwhile exploitation is still happening and no-one is safe. Following a group of people centred around academic and art critic Campbell Flynn, Caledonian Road explores how London has changed.
I really like O'Hagan's writing and this book is superb. The length may seem daunting but the prose skips along and it doesn't feel excessive. It may be high praise but I feel this book is like and update to the classic 19th century novels of life by Thackeray. The details are fantastic and nuanced, there's a gentle push at the woke generation and a stronger push at corrupt businessmen, the downstairs tenant is a real Dickensian character and the whole is so enjoyable that, for me, it sits at the top of the books I've read this year! ( )