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The High House by Jessie Greengrass review – apocalypse and family love Melissa Harrison From Barbara Kingsolver’s Doggerland by Ben Smith, the “cli-fi” genre is growing exponentially – no surprise, given the coming crisis. In fact, as an artist in any medium it can feel self-indulgent, in 2021, to be making work about anything else. Jessie Greengrass’s Women’s prize-shortlisted debut novel, Sight, used motherhood as a springboard to explore wider ideas of psychoanalysis and medical history; her second tackles the subject of global heating head-on, conjuring a near-future vision of a flooded East Anglia. Where it excels is in its characters’ recollection of the slow, incremental progress towards disaster, and the effort ordinary people made, every day, to block their knowledge of it out: “Crisis slid from distant threat to imminent probability and we tuned it out like static,” Caro, one of the survivors, recalls.

Jenny offillLackford lakesKumar sriskandan alamyBen smithGuardian photographBarbara kingsolverFlight behaviourHigh houseAlamy lackford lakesஜென்னி ஒப்பிழிலபென் ஸ்மித்பாதுகாவலர் புகைப்படம்பார்பரா கிங்ஃசொல்வேற்விமானம் நடத்தைஉயர் வீடு