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Flesh
From Booker Prize finalist David Szalay, a propulsive, hypnotic novel, about a man whose future is derailed by a series of events that he is unable to control.
Teenaged István lives with his mother in a quiet apartment complex in Hungary. Shy and new in town, he is a stranger to the social rituals practiced by his classmates and soon becomes isolated, with his neighbor—a married woman close to his mother’s age, whom he begrudgingly helps with errands—as his only companion. But as these periodical encounters shift into a clandestine relationship that István himself can barely understand, his life soon spirals out of control, ending in a violent accident that leaves a man dead.
What follows is a rocky trajectory that sees István emigrate from Hungary to London, where he moves from job to job before finding steady work as a driver for London’s billionaire class. At each juncture, his life is affected by the goodwill or self-interest of strangers. Through it all, István is a calm, detached observer of his own life, and through his eyes we experience a tragic twist on an immigrant “success story,� brightened by moments of sensitivity, softness, and Szalay’s keen observation.
Fast-paced and immersive, Flesh reveals István’s life through intimate moments, with lovers, employers, and family members, charted over the course of decades. As the story unfolds, the tension between what is seen and unseen, what can and cannot be said, hurtles forward until finally—with everything at stake—sudden tragedy again throws life as István knows it in jeopardy. Spare and penetrating, Flesh traces the imperceptible but indelible contours of unresolved trauma and its aftermath amid the precarity and violence of an ever-globalizing Europe with incisive insight, unyielding pathos, and startling humanity.
Teenaged István lives with his mother in a quiet apartment complex in Hungary. Shy and new in town, he is a stranger to the social rituals practiced by his classmates and soon becomes isolated, with his neighbor—a married woman close to his mother’s age, whom he begrudgingly helps with errands—as his only companion. But as these periodical encounters shift into a clandestine relationship that István himself can barely understand, his life soon spirals out of control, ending in a violent accident that leaves a man dead.
What follows is a rocky trajectory that sees István emigrate from Hungary to London, where he moves from job to job before finding steady work as a driver for London’s billionaire class. At each juncture, his life is affected by the goodwill or self-interest of strangers. Through it all, István is a calm, detached observer of his own life, and through his eyes we experience a tragic twist on an immigrant “success story,� brightened by moments of sensitivity, softness, and Szalay’s keen observation.
Fast-paced and immersive, Flesh reveals István’s life through intimate moments, with lovers, employers, and family members, charted over the course of decades. As the story unfolds, the tension between what is seen and unseen, what can and cannot be said, hurtles forward until finally—with everything at stake—sudden tragedy again throws life as István knows it in jeopardy. Spare and penetrating, Flesh traces the imperceptible but indelible contours of unresolved trauma and its aftermath amid the precarity and violence of an ever-globalizing Europe with incisive insight, unyielding pathos, and startling humanity.
368 pages, Hardcover
First published March 6, 2025
118 people are currently reading
14.4k people want to read
About the author
David Szalay
15books427followersDavid Szalay (born 1974 in Montreal, Quebec) is an English writer.
He was born in Canada, moved to the UK the following year and has lived there ever since. He studied at Oxford University and has written a number of radio dramas for the BBC.
He won the Betty Trask Award for his first novel, London and the South-East, along with the Geoffrey Faber Memorial Prize. Since then he has written two other novels: Innocent (2009) and Spring (2011).
He has also recently been named one of The Telegraph's Top 20 British Writers Under 40 and has also made it onto Granta magazine's 2013 list of the Best of Young British Novelists.
A fourth novel All That Man Is was longlisted for The Man Booker Prize 2016.
He was born in Canada, moved to the UK the following year and has lived there ever since. He studied at Oxford University and has written a number of radio dramas for the BBC.
He won the Betty Trask Award for his first novel, London and the South-East, along with the Geoffrey Faber Memorial Prize. Since then he has written two other novels: Innocent (2009) and Spring (2011).
He has also recently been named one of The Telegraph's Top 20 British Writers Under 40 and has also made it onto Granta magazine's 2013 list of the Best of Young British Novelists.
A fourth novel All That Man Is was longlisted for The Man Booker Prize 2016.
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Displaying 1 - 30 of 82 reviews
November 20, 2024
Anyone who has ever attended an introductory writing class has heard all the “rules�: active voice is far better than passive voice. Steer clear of banal dialogue. Keep the emphasis on the character’s thoughts. Make sure your characters are “relatable.�
David Szalay breaks all the rules and thank god for that! The result is a hypnotic and immersive novel that grabbed my attention from page one and kept it until the very last page.
From the start, Hungarian teenager Istvan doesn’t act but is acted upon. Our first encounter with him is when he begrudgingly agrees to help a very old (42) married neighbor with errands, and she purposefully seduces him -- stirring up confusing feelings. Soon afterward, a Big Bad Thing happens, with reverberations that echo through Istvan’s life.
We never are privy to what Istvan really thinks about the Big Bad Thing, or anything else, for that matter. Most of the time, his answers to any attempt to find out who he is are staccato-like. Here is a typical example: when a wealthy woman questions him about what it was like being in the army, he tries to figure out what she wants him to say. He ends up with a simple, “It was okay.�
She answers: “What do you mean okay? What does that actually mean? When you say it was okay, you’re not actually saying anything, are you?� She follows up by accusing Istvan of being evasive, and he does not convincingly deny it.
Despite himself, Istvan leads what some might consider a charmed life. Each chapter prods readers further into his future in London, as Istvan eventually comes to the attention of a very wealthy advocate. Soon, he is a driver for London’s billionaire class. Yet Istvan never truly aspires to what unfolds. He remains detached, accepting what is granted to him, never celebrating his good fortune but rather simply accepting it. He appears to want and expect nothing from life and, while frozen emotionally, his essential nature and his humanity peep out at certain intimate moments.
It spurred emotions in me, though, and I totally loved this book. I owe a deep thanks to Scribner and NetGalley for enabling me to be an early reader in exchange for an honest review.
David Szalay breaks all the rules and thank god for that! The result is a hypnotic and immersive novel that grabbed my attention from page one and kept it until the very last page.
From the start, Hungarian teenager Istvan doesn’t act but is acted upon. Our first encounter with him is when he begrudgingly agrees to help a very old (42) married neighbor with errands, and she purposefully seduces him -- stirring up confusing feelings. Soon afterward, a Big Bad Thing happens, with reverberations that echo through Istvan’s life.
We never are privy to what Istvan really thinks about the Big Bad Thing, or anything else, for that matter. Most of the time, his answers to any attempt to find out who he is are staccato-like. Here is a typical example: when a wealthy woman questions him about what it was like being in the army, he tries to figure out what she wants him to say. He ends up with a simple, “It was okay.�
She answers: “What do you mean okay? What does that actually mean? When you say it was okay, you’re not actually saying anything, are you?� She follows up by accusing Istvan of being evasive, and he does not convincingly deny it.
Despite himself, Istvan leads what some might consider a charmed life. Each chapter prods readers further into his future in London, as Istvan eventually comes to the attention of a very wealthy advocate. Soon, he is a driver for London’s billionaire class. Yet Istvan never truly aspires to what unfolds. He remains detached, accepting what is granted to him, never celebrating his good fortune but rather simply accepting it. He appears to want and expect nothing from life and, while frozen emotionally, his essential nature and his humanity peep out at certain intimate moments.
It spurred emotions in me, though, and I totally loved this book. I owe a deep thanks to Scribner and NetGalley for enabling me to be an early reader in exchange for an honest review.
March 17, 2025
Flesh is a curious read.- stark - direct - but pulls you in
Following the life of 15 year old István - a lonely boy living with his mother in a Hungarian town- the story follows his first troubled steps into adulthood. He finds himself in a relationship with am older married woman which confuses and troubles him until it leads to an action that alters the course of his future.
Life eventually takes him to the world of the rich in London during the noughties and into the 2010's and the pandemic.
Each chapter follows a significant next step in his life's trajectory: highlighting the excesses of living in a bubble of wealth- the turbulent and mixed relationships within this world - his employers; future wife; stepson and his own child.
After the first chapter, there was a feeling of being unsettled by the content and wondering how much despair and hardship could be endured but once István's journey arrives in London the story hooks as to how he will survive an unknown city that seems to offer itself to all
In some senses this feels like a morality tale - a fable about the desire to have more; improve your world and maintaining the facade and how it can all crumble in an instant.
David Szalay's writing is sparse, poignant , dark and in some senses brutal- the exploration of sexuality and the rawness of finding who you are is unsettling-..ultimately revealing the damage that early events can have on the older self. Empathy with István swings from event to event. What will become of him ? How will he survive the rollercoaster of living he joins?
This novel reflects the world today - the ideal of money, success and prosperity equating to success and the fallacy of it all.
A powerful and provocative read.
Following the life of 15 year old István - a lonely boy living with his mother in a Hungarian town- the story follows his first troubled steps into adulthood. He finds himself in a relationship with am older married woman which confuses and troubles him until it leads to an action that alters the course of his future.
Life eventually takes him to the world of the rich in London during the noughties and into the 2010's and the pandemic.
Each chapter follows a significant next step in his life's trajectory: highlighting the excesses of living in a bubble of wealth- the turbulent and mixed relationships within this world - his employers; future wife; stepson and his own child.
After the first chapter, there was a feeling of being unsettled by the content and wondering how much despair and hardship could be endured but once István's journey arrives in London the story hooks as to how he will survive an unknown city that seems to offer itself to all
In some senses this feels like a morality tale - a fable about the desire to have more; improve your world and maintaining the facade and how it can all crumble in an instant.
David Szalay's writing is sparse, poignant , dark and in some senses brutal- the exploration of sexuality and the rawness of finding who you are is unsettling-..ultimately revealing the damage that early events can have on the older self. Empathy with István swings from event to event. What will become of him ? How will he survive the rollercoaster of living he joins?
This novel reflects the world today - the ideal of money, success and prosperity equating to success and the fallacy of it all.
A powerful and provocative read.
March 2, 2025
� 2.75 stars �
�
ċ� � � � � � � � � � � � � There was no better way to encapsulate what I was feeling as Szalay's prose neared the end. It reverberated within for the gradual and yet subtle way the narrative shifted towards one of just -- emptiness. For there's no point denying how deeply uncomfortable the opening act was.� 😑 To see a sexual dalliance spring up between a fifteen-year-old boy and a forty-two-year-old married woman is enough to make the stomach churn. 🙅🏻♀� Even if it offers a form of respite from the detached way István� views his life with his mother in Hungary, it sets the precursor of events that would forever be the scale to which his life would measure - an unspeakable and immovable presence of misplaced guilt and I believe, trauma, that made his apathy towards his own emotions seem so apart from everything else.� 😟
� “As long as no one knows about it, it’s like it isn’t really happening.� It’s like it exists in the same way that his fantasies exist, as something� he’s just imagining.
That’s how it seems to him sometimes.”�
� � � � � � � � � � � � ċR徱Բ Flesh was a baffling sensation; that in there was nothing grandiose or grand about the writing. István is a lukewarm run-of-the-mill kind of character who seems to have the misfortune of attracting older married women, who sees himself distant and apathetic, if not indifferent to all that is happening around him, simply that he is just there. Almost as if he simply wishes to avoid difficulties and problems - 'it’s just very painful to think about.' 😮💨� And perhaps that's why he never really places much emphasis on himself - to be used or humbled, without struggle or inspiration, he just exists. In that context, it's hard to care for or even be concerned for him. But, you follow his journey - you see the path he's on - the characters he encounters. You know it's wrong - someone or something is going to be hurt, but you can't look away. You can't quite understand why he's behaving the way he is - why he's not struggling on his own merit, why is it possible that he hasn't shed a past pain that seems to have closed him off from feeling - caring?� 😥
� � � � � � � � � � � � � I always thought that I had read my fair share of questionable descriptions of physical intimacy, but there were certain variations here that were definitely new, if not questionably squeamish to me. 🤨 But, it's that bluntness and straightforwardness of that honest depiction perhaps that echoes István� 's nature� is of a slightly withdrawn and detached feeling, but still fiercely immersive character study of this person who made a mistake and then perhaps, because of it - never grew up. Never escaped that feeling of incompletion that resorted him to allow himself be used and just disregarded, or simply never strive to be something more for himself - a matter of significance, rather than making it feel vague and insubstantial as a half-forgotten dream.� ❤️�
� “He realizes that the things that are so important to him—the things that happened, and that he saw there, the things that left him feeling that nothing would ever be the same again—they just aren’t important here.
Those things have no reality here.
That’s what it feels like.”�
� � � � � � � � � � � � � And what hurts me more. Is that I teared up! 😭 I teared up, because as the years quietly moved on - as he gets entangled deeper into a relationship that is so wrong right from the start - there is this faintly foreboding feeling that something will go wrong - can go wrong. And you're waiting for the final shoe to drop and then when you think it will, it's not quite what you thought it was, but it happens so softly and suddenly, because the writing is just so matter-of-fact, but still so immersive that when it hits --- it washes over you and I found myself crying. I should not have felt sorry for him, but somehow I was. 🤧
� � � � � � � � � � � � � Following in those footsteps of heartache, it is that final dissolution, or is it absolution, or retribution for the choices István made in his life that left a void in my own heart. That makes me wonder - what was the point? Was it all for naught? He was searching for a connection, and each time he found it, it was just.... that he still disregards himself so little. It was a bittersweet conclusion that I couldn't help but sympathize with him.� 🥺 A life built on a an unwitting regret and loneliness that begs the question that perhaps all he sought in the arms of another was a place for comfort - a wish that was taken for granted until the end � 'so that you’re left absurdly exposed, unsure whether the world knows everything about you or nothing.'� 😔
*Thank you to Edelweiss for a DRC in exchange for an honest review.
ċċċċ“It's a strange feeling. There’s a sort of deep immovable sadness that wasn’t there� before.�
�
ċ� � � � � � � � � � � � � There was no better way to encapsulate what I was feeling as Szalay's prose neared the end. It reverberated within for the gradual and yet subtle way the narrative shifted towards one of just -- emptiness. For there's no point denying how deeply uncomfortable the opening act was.� 😑 To see a sexual dalliance spring up between a fifteen-year-old boy and a forty-two-year-old married woman is enough to make the stomach churn. 🙅🏻♀� Even if it offers a form of respite from the detached way István� views his life with his mother in Hungary, it sets the precursor of events that would forever be the scale to which his life would measure - an unspeakable and immovable presence of misplaced guilt and I believe, trauma, that made his apathy towards his own emotions seem so apart from everything else.� 😟
� “As long as no one knows about it, it’s like it isn’t really happening.� It’s like it exists in the same way that his fantasies exist, as something� he’s just imagining.
That’s how it seems to him sometimes.”�
� � � � � � � � � � � � ċR徱Բ Flesh was a baffling sensation; that in there was nothing grandiose or grand about the writing. István is a lukewarm run-of-the-mill kind of character who seems to have the misfortune of attracting older married women, who sees himself distant and apathetic, if not indifferent to all that is happening around him, simply that he is just there. Almost as if he simply wishes to avoid difficulties and problems - 'it’s just very painful to think about.' 😮💨� And perhaps that's why he never really places much emphasis on himself - to be used or humbled, without struggle or inspiration, he just exists. In that context, it's hard to care for or even be concerned for him. But, you follow his journey - you see the path he's on - the characters he encounters. You know it's wrong - someone or something is going to be hurt, but you can't look away. You can't quite understand why he's behaving the way he is - why he's not struggling on his own merit, why is it possible that he hasn't shed a past pain that seems to have closed him off from feeling - caring?� 😥
� � � � � � � � � � � � � I always thought that I had read my fair share of questionable descriptions of physical intimacy, but there were certain variations here that were definitely new, if not questionably squeamish to me. 🤨 But, it's that bluntness and straightforwardness of that honest depiction perhaps that echoes István� 's nature� is of a slightly withdrawn and detached feeling, but still fiercely immersive character study of this person who made a mistake and then perhaps, because of it - never grew up. Never escaped that feeling of incompletion that resorted him to allow himself be used and just disregarded, or simply never strive to be something more for himself - a matter of significance, rather than making it feel vague and insubstantial as a half-forgotten dream.� ❤️�
� “He realizes that the things that are so important to him—the things that happened, and that he saw there, the things that left him feeling that nothing would ever be the same again—they just aren’t important here.
Those things have no reality here.
That’s what it feels like.”�
� � � � � � � � � � � � � And what hurts me more. Is that I teared up! 😭 I teared up, because as the years quietly moved on - as he gets entangled deeper into a relationship that is so wrong right from the start - there is this faintly foreboding feeling that something will go wrong - can go wrong. And you're waiting for the final shoe to drop and then when you think it will, it's not quite what you thought it was, but it happens so softly and suddenly, because the writing is just so matter-of-fact, but still so immersive that when it hits --- it washes over you and I found myself crying. I should not have felt sorry for him, but somehow I was. 🤧
� � � � � � � � � � � � � Following in those footsteps of heartache, it is that final dissolution, or is it absolution, or retribution for the choices István made in his life that left a void in my own heart. That makes me wonder - what was the point? Was it all for naught? He was searching for a connection, and each time he found it, it was just.... that he still disregards himself so little. It was a bittersweet conclusion that I couldn't help but sympathize with him.� 🥺 A life built on a an unwitting regret and loneliness that begs the question that perhaps all he sought in the arms of another was a place for comfort - a wish that was taken for granted until the end � 'so that you’re left absurdly exposed, unsure whether the world knows everything about you or nothing.'� 😔
*Thank you to Edelweiss for a DRC in exchange for an honest review.
October 25, 2024
I love this book! We follow István from his early life to his mid life always being kept at arms length from him emotionally. There is a sense from the writing style that István has low affect. As we read on we learn much more about him in fact and grow to really empathize and care about him (at least I did). There are certain moments that are kept from us as the reader ie what other characters said in conversation, what gifts were given. I appreciate the author David Szalay not holding our hand as the reader or feeling the need to spell everything out. The book is relatively plot driven because of the lack of emotions and it gets pretty wild and self referential. István lives a very unique life and is a character who floats through life by saying yes to almost everything that is presented to him. The pacing and energy of the book reminded me a lot of Paul Murray’s The Bee Sting. I couldn’t put it down because I always had the feeling I needed to know what happened next. Flesh comes out on 4/1/25 and I recommend it very enthusiastically!
October 20, 2024
Ok this book is complete garbage and I'm not wasting any more of my time reading it. On top of that it's so poorly written that it's unbelievable.
I received a free Advance Reader's Edition of the book from Scribner / ŷ and I am so sorry that I did.
I received a free Advance Reader's Edition of the book from Scribner / ŷ and I am so sorry that I did.
February 2, 2025
a whole lot of life and a whole lot of sex but also the main character is so dry and has no redemption or slight change in character
did not vibe well with the writing style either. very blunt and the dialogue was so lacking.
did not vibe well with the writing style either. very blunt and the dialogue was so lacking.
February 23, 2025
I finished this more than a week ago and totally forgot to write something about it, so here I go.
'Flesh' is a tragic and often sad but fascinating novel about growing up and becoming an adult, coming from poverty and ending up extremely rich. Szalay uses short and direct sentences, which work really well and propel you forward and I read this pretty fast. I wouldn't say I 'enjoyed' reading this book, but I was wat least very much invested in it.
Thank you Jonathan Cape and Netgalley UK for the ARC.
'Flesh' is a tragic and often sad but fascinating novel about growing up and becoming an adult, coming from poverty and ending up extremely rich. Szalay uses short and direct sentences, which work really well and propel you forward and I read this pretty fast. I wouldn't say I 'enjoyed' reading this book, but I was wat least very much invested in it.
Thank you Jonathan Cape and Netgalley UK for the ARC.
March 10, 2025
Flesh is a novel that is difficult to review. I found myself totally sucked into it, without actually really enjoying it very much. It's an account of a life lived, with mixed fortunes and much heartbreak.
Written in stark, detached, plain prose, with very simple, pared-back dialogue, the overarching message that I got from the book was that the protagonist Istvan, groomed as a 15 year old boy by his neighbour, a 40 year old woman, never emotionally matured beyond that point. One might describe it as the opposite of a Bildungsroman, because the protagonist never really comes of age but merely passively accepts what life has to throw at him.
The book opens with teenage Istvan in his native Hungary encountering the older woman and becoming involved in a sexual relationship with her. From there, Istvan joins the army and then eventually moves to London, where he almost unwittingly enters the realm of the billionaire class.
For me, Flesh doesn't have the same level of pathos of Stoner by John Williams (which I loved), and it has far more graphic sex in it, but it did remind me of Stoner in that cold, detached view of a life that actually contained multitudes, as indeed all do. Would I recommend it? Sort of. If it sounds like your thing. Certainly thought-provoking and more clever than might appear on a superficial reading. 3.5/5 stars
*Many thanks to Vintage Books for the arc via Netgalley. As always, this is an honest review.
Written in stark, detached, plain prose, with very simple, pared-back dialogue, the overarching message that I got from the book was that the protagonist Istvan, groomed as a 15 year old boy by his neighbour, a 40 year old woman, never emotionally matured beyond that point. One might describe it as the opposite of a Bildungsroman, because the protagonist never really comes of age but merely passively accepts what life has to throw at him.
The book opens with teenage Istvan in his native Hungary encountering the older woman and becoming involved in a sexual relationship with her. From there, Istvan joins the army and then eventually moves to London, where he almost unwittingly enters the realm of the billionaire class.
For me, Flesh doesn't have the same level of pathos of Stoner by John Williams (which I loved), and it has far more graphic sex in it, but it did remind me of Stoner in that cold, detached view of a life that actually contained multitudes, as indeed all do. Would I recommend it? Sort of. If it sounds like your thing. Certainly thought-provoking and more clever than might appear on a superficial reading. 3.5/5 stars
*Many thanks to Vintage Books for the arc via Netgalley. As always, this is an honest review.
April 8, 2025
István, a Hungarian man living in London, is at the mercy of life’s events. It’s not fate because the story doesn’t narrowly present occurrences deterministically. But coincidences accompany the cause and effect of one’s choices. For István, his neighbor sexually abuses him when he’s in high school, he accidentally kills his neighbor’s husband, a friend dies when they serve together in Ukraine, he has an affair with his employer’s wife, he files for bankruptcy when he can’t find investors for his company, his son Jacob and his wife Helen die in a car accident, his stepson abuses substances, and he works as a security guard when he and his mother move back to Hungary. Szalay animates István’s story by taking us through many iterations of a life, maybe commonly called seasons, within his single life.
Readers will not feel an attachment to István, even though coming-of-age stories about child victims of sexual abuse generally foster emotional connections, at least in my experience. Szalay’s story will not create this bond; the expanse between István’s circumstances and his process of the circumstances remains vast. This failure to attach reminds us of István’s early detachment from his body when his neighbor grooms a minor, perhaps proved by his masturbation. The detachment settles in when his friend dies and István doesn’t do the proper work in therapy. Our main character exercises agency—he starts a business and pushes his son not to transfer to a new school. But one witnesses a fractured, compliant man moved along by arbitrary events. His young mind and grasp of reality are malleable; in time, his conditions cross-wire his natural bodily desires and instincts.
Are guilt and corruption passed from one generation to the next? If so, do these factors constitute happenstance or destiny? At a minimum, Jacob picks up on habits, mannerisms, and trauma, evidenced by Jacob mimicking his father’s monosyllabic answers, which vary from “yes� to “sure� and “okay.� This pattern of dialogue, matched with the third-person perspective, slower-paced unfolding, and István’s absent internal dialogue, gives the book a spacious, uncomplicated tone, ideal for personal reflection.
Readers will not feel an attachment to István, even though coming-of-age stories about child victims of sexual abuse generally foster emotional connections, at least in my experience. Szalay’s story will not create this bond; the expanse between István’s circumstances and his process of the circumstances remains vast. This failure to attach reminds us of István’s early detachment from his body when his neighbor grooms a minor, perhaps proved by his masturbation. The detachment settles in when his friend dies and István doesn’t do the proper work in therapy. Our main character exercises agency—he starts a business and pushes his son not to transfer to a new school. But one witnesses a fractured, compliant man moved along by arbitrary events. His young mind and grasp of reality are malleable; in time, his conditions cross-wire his natural bodily desires and instincts.
Are guilt and corruption passed from one generation to the next? If so, do these factors constitute happenstance or destiny? At a minimum, Jacob picks up on habits, mannerisms, and trauma, evidenced by Jacob mimicking his father’s monosyllabic answers, which vary from “yes� to “sure� and “okay.� This pattern of dialogue, matched with the third-person perspective, slower-paced unfolding, and István’s absent internal dialogue, gives the book a spacious, uncomplicated tone, ideal for personal reflection.
April 1, 2025
Thank you Scribner for an ARC!
4.25 stars
An introspective meditation on life after trauma that never truly heals.
David Szalay uses very simplistic prose reminiscent of Cormac McCarthy which is definitely going to be polarizing. I personally love when an author is able to utilize language so effectively that they don’t need to be overly poetic or descriptive. They just get right to the point and Szalay does it so well in Flesh!
It did take me a little bit to get used to the time jumps with each chapter but once I did I was completely immersed in this story. We follow István as his entire life is constantly derailed by tragic events he can’t control. It starts when he’s just 15 years old when a horrific situation arises and we watch as he never mentally ages past that point because of it.
This book probably won’t be for everyone but I appreciated it? (Feels weird to say I enjoyed/loved it given the subject matter) If you don’t like very melancholic, tragic books then maybe avoid this one.
4.25 stars
An introspective meditation on life after trauma that never truly heals.
David Szalay uses very simplistic prose reminiscent of Cormac McCarthy which is definitely going to be polarizing. I personally love when an author is able to utilize language so effectively that they don’t need to be overly poetic or descriptive. They just get right to the point and Szalay does it so well in Flesh!
It did take me a little bit to get used to the time jumps with each chapter but once I did I was completely immersed in this story. We follow István as his entire life is constantly derailed by tragic events he can’t control. It starts when he’s just 15 years old when a horrific situation arises and we watch as he never mentally ages past that point because of it.
This book probably won’t be for everyone but I appreciated it? (Feels weird to say I enjoyed/loved it given the subject matter) If you don’t like very melancholic, tragic books then maybe avoid this one.
April 1, 2025
István is barely a teenager when we first meet him. He lives is a small Hungarian town and early on in the novel, he's seduced by his forty year old neighbour. We follow his life through his incarceration, PTSD following his tour to Afghanistan and eventually, his departure for England. It's there that he makes a living as a security guard and is eventually hired by a rich couple. Within months, he's seduced by the his female boss - Helena - while her well to-do husband is treated for cancer in Germany. With each chapter, István seems to come to terms with the sad reality of his life, even when extreme tragedy strikes. There's no self-pity or reflection on his part, just a case of eternal victimhood. Grim but highly rewarding novel that speaks to a bleak state of human life.
April 7, 2025
Depressingly mesmerizing
January 14, 2025
4.5 ⭐️ The story of one man’s life from humble beginnings in Hungary to extreme wealth in London. Unconventional, unsettling but pretty extraordinary. The way Szalay withholds and dispenses information about the characters is incredibly done - it’s written in this very sparse flat style but I was completely gripped. Get it on the Booker shortlist!!
October 23, 2024
"Flesh" follows the story of István, a young man in Hungary whose life takes a dark turn after a series of uncontrollable events. After a tragic accident, István emigrates to London where he becomes a driver for the wealthy, navigating a series of encounters that shape his life. The novel explores themes of trauma, immigration, and the impact of strangers on one's life with a mix of sensitivity, observation, and tragedy. It delves into István's intimate moments with others, revealing the lasting effects of unresolved trauma in a constantly changing and sometimes violent Europe.
As I delved into this book, I initially questioned whether it was just another run-of-the-mill novel. However, I was pleasantly surprised by the level of detail provided, which forced me to pause and reflect. The story began on a strong note, but gradually lost momentum. As an immigrant myself, striving for a sense of normalcy in a foreign land, I found elements of the protagonist's journey relatable. Despite encountering setbacks along the way, the character's story felt authentic and genuine.
Although the narrative seemed to meander at times, I continued reading, intrigued by the protagonist's youthful perspective. The depiction of the settings, particularly Hungary and London, resonated with me due to my own experiences visiting these places.
While some readers may find the book challenging, I found the initial premise engaging. However, as the story progressed, it veered into the realm of everyday occurrences that are often beyond our control. Perhaps this tale would be better suited for an audiobook format.
Ultimately, reading preferences vary from person to person. I encourage you to give this book a chance and form your own judgment.
Thank you, Scribner for digital ARC copy. I am leaving this review voluntarily.
As I delved into this book, I initially questioned whether it was just another run-of-the-mill novel. However, I was pleasantly surprised by the level of detail provided, which forced me to pause and reflect. The story began on a strong note, but gradually lost momentum. As an immigrant myself, striving for a sense of normalcy in a foreign land, I found elements of the protagonist's journey relatable. Despite encountering setbacks along the way, the character's story felt authentic and genuine.
Although the narrative seemed to meander at times, I continued reading, intrigued by the protagonist's youthful perspective. The depiction of the settings, particularly Hungary and London, resonated with me due to my own experiences visiting these places.
While some readers may find the book challenging, I found the initial premise engaging. However, as the story progressed, it veered into the realm of everyday occurrences that are often beyond our control. Perhaps this tale would be better suited for an audiobook format.
Ultimately, reading preferences vary from person to person. I encourage you to give this book a chance and form your own judgment.
Thank you, Scribner for digital ARC copy. I am leaving this review voluntarily.
February 5, 2025
A stunning read. Right from the first page, I was hooked and literally tried to read this book with any spare moment that I had. For many reasons, this book really resonated me. It's really tight focus, the jumping timeline with no warning or justification and the story being told in a frank and bold manner, just creates a book that I now love.
It's unabashed stance and starkness and how it reads without fear or judgement, just makes me love it more. As ever, thank you for the kind publisher for allowing me to read this early, I think I'll buy this book when it released, as it is something that good that I'd like a physical copy.
It's unabashed stance and starkness and how it reads without fear or judgement, just makes me love it more. As ever, thank you for the kind publisher for allowing me to read this early, I think I'll buy this book when it released, as it is something that good that I'd like a physical copy.
April 4, 2025
István is a teenager living with his mother in their apartment in Hungary when we meet him in Flesh. He's socially awkward, answers everything monosyllabically, and doesn't appear to have any agency. Things happen *to* him.
If you've seen Pete Davidson's character Chad on SNL, you've seen Peter Szalay's István. Especially in that first chapter when he's seduced by a much older woman (she's 42!!!) who hires him to help with the groceries.
In each chapter we jump through István's life, in stark, stripped down prose. István doesn't appear to change much, but his circumstances do. Things continue to happen to him as he joins the army, moves to Germany, then London. Fate seems to land István in a variety of jobs, interacting with increasingly rich clientele until he finds himself on that other side.
Flesh is mesmerizing. The prose is straightforward, with the action happening between the lines. We're pulled along with István as he goes through life. It's sneaky - like István, we become observers as we're propelled forward in time. It's slice of life, it's an immigrant tale, it's tragic, it's funny.
I remember liking Szalay's Turbulence, a novel of interconnected occurrences of people traveling around the globe. I'll be seeking out more of his work.
My thanks to NetGalley and Scribner for the Advance Reader Copy. (pub date 4/1/2025)
If you've seen Pete Davidson's character Chad on SNL, you've seen Peter Szalay's István. Especially in that first chapter when he's seduced by a much older woman (she's 42!!!) who hires him to help with the groceries.
In each chapter we jump through István's life, in stark, stripped down prose. István doesn't appear to change much, but his circumstances do. Things continue to happen to him as he joins the army, moves to Germany, then London. Fate seems to land István in a variety of jobs, interacting with increasingly rich clientele until he finds himself on that other side.
Flesh is mesmerizing. The prose is straightforward, with the action happening between the lines. We're pulled along with István as he goes through life. It's sneaky - like István, we become observers as we're propelled forward in time. It's slice of life, it's an immigrant tale, it's tragic, it's funny.
I remember liking Szalay's Turbulence, a novel of interconnected occurrences of people traveling around the globe. I'll be seeking out more of his work.
My thanks to NetGalley and Scribner for the Advance Reader Copy. (pub date 4/1/2025)
April 4, 2025
This story is written in a plain, expository voice that recalls John Williams' Stoner. This is ok purpose - it makes no judgements or moral statements, but mirrors the events of an ordinary life, in which random events can mean something or not depending on how you choose to interpret them. I surprised myself with how drawn in I was - I read this in one sitting. It covers themes of class difference, sexuality, privilege, loneliness, violence and the unpredictability of life.
April 7, 2025
If the first thing you think when you finish a book is, “How did he do that!?�, you can be sure the author has pulled off something remarkable. I’ve long admired Szalay’s style and enjoyed his previous novels, but in his latest, the medium somehow IS the message. With spare, straightforward prose, and dialogue laconic in the extreme, Szalay portrays István, from age 15 to about 65. What he undergoes during that half-century is out-of-the ordinary, yet his story is, at bottom, about our common human experience. Physical and emotional, personal and geopolitical, it examines our bodies� interface between our inner selves and the outer world. While Szalay has a quietly goofy humor that just tickled me, he also brought me to tears. But it wasn’t distress I was feeling, it was catharsis. And I realized that’s exactly what I’ve been needing these days.
P.S. I know it’s early, but I wouldn’t be surprised if Flesh was a Booker nominee. It’s definitely going to be on my personal 2025 Top Ten.
P.S. I know it’s early, but I wouldn’t be surprised if Flesh was a Booker nominee. It’s definitely going to be on my personal 2025 Top Ten.
March 15, 2025
Flesh opens with 15-year-old István being groomed and seduced by a neighbour in her forties, followed by a dramatic accident borne of frustration. And so the tenor of this book is set, events that happen *to* István as he moves from Hungary to London via the Balkans and war-torn Iraq, rather than life-plans conceived and instigated. A story whose cynosure is the bedroom and the sexual encounters, almost exclusively initiated by women, consistently described in somatic not emotional terms.
István is a physically potent but conversationally deficient protagonist (but perversely not one lacking in intelligence). The dialogue is uniformly stilted and staccato. When asked for an opinion, even about his own experiences, a variation on a phrase including ‘okay� is István’s stock response. (I confess the ubiquity of that word grated on me). I have read an interview with David Szalay in which he says “What’s not said is as important, in this story and in the novel as a whole, as what is�. The art of being heard through omission is one that Claire Keegan has perfected, but unlike Keegan’s stories, in Flesh I found the omissions to be curious detractors not suggestive embellishments to the text.
At the core there is an incipient rags to riches fable of an immigrant overcoming the challenges of new surroundings and being taken advantage of, to make good. But the detached perspective and journaling approach chosen to convey the narrative, smothered my interest in the protagonist in a blanket of indifference. Instead of being immersed in his struggles and fate, I felt almost voyeuristic on occasion.
It appears that Szalay deliberately wrote a story about the most passive of characters and elected to focus on the effect of how a self-interested world treats him primarily from a corporeal standpoint. But it left me wanting less apathy, more resistance and emotional engagement, frankly more oomph! And so for me, ironically, Flesh was simply ‘okay�.
I have seen other reviews expressing more upbeat reactions to Szalay’s storytelling, so don’t let me put you off this book. It could be that Flesh merely happened to me at the wrong time.
István is a physically potent but conversationally deficient protagonist (but perversely not one lacking in intelligence). The dialogue is uniformly stilted and staccato. When asked for an opinion, even about his own experiences, a variation on a phrase including ‘okay� is István’s stock response. (I confess the ubiquity of that word grated on me). I have read an interview with David Szalay in which he says “What’s not said is as important, in this story and in the novel as a whole, as what is�. The art of being heard through omission is one that Claire Keegan has perfected, but unlike Keegan’s stories, in Flesh I found the omissions to be curious detractors not suggestive embellishments to the text.
At the core there is an incipient rags to riches fable of an immigrant overcoming the challenges of new surroundings and being taken advantage of, to make good. But the detached perspective and journaling approach chosen to convey the narrative, smothered my interest in the protagonist in a blanket of indifference. Instead of being immersed in his struggles and fate, I felt almost voyeuristic on occasion.
It appears that Szalay deliberately wrote a story about the most passive of characters and elected to focus on the effect of how a self-interested world treats him primarily from a corporeal standpoint. But it left me wanting less apathy, more resistance and emotional engagement, frankly more oomph! And so for me, ironically, Flesh was simply ‘okay�.
I have seen other reviews expressing more upbeat reactions to Szalay’s storytelling, so don’t let me put you off this book. It could be that Flesh merely happened to me at the wrong time.
March 24, 2025
The ultimate example that a life is emotional enough in itself. No need to add anything extra, just write it down in as it happens.
April 8, 2025
More sparse than his previous novels but no one does it better
April 1, 2025
Another reviewer has described this book as difficult to review which I would agree with. At times uncomfortable to read, stilted dialogue, and deeply flawed characters. But at the same time strangely compelling and ultimately sad. Istvan is incapable of forming lasting relationships and floats through life without making one conscious decision. Even the relationships he has are unsatisfactory. I wondered at one stage what was the point but ultimately I was hooked. Life goes full circle.
April 7, 2025
First time reading anything by this author. The writing style stood out to me—direct, stark, and refreshingly uncluttered. I ended up reading it in one sitting. I'm definitely curious to explore more of their work.
February 11, 2025
What amazing writing, page turner that I had to finish in one sitting. Unlikeable characters, too detailed sex scenes but still 5* for the reading experience.
March 23, 2025
Superb. Incredibly well-written, I couldn’t put it down.
March 13, 2025
At the start of this novel, we meet István at 15, where he is seduced by a 40-something year old neighbour. An accident happens where the woman's husband dies, and István is blamed and sent away. Throughout this period of the book, Isval's character is very superficially described, but this develops as the book, and his life, matures. I loved how the author did this, creating a surface-only story at the start, where horrific things are happening to István, to a deep exploration of his character later, even when describing more mundane events of his life such as job interviews and affairs...
I really loved this book and have found myself thinking about István and the decisions he made in his life, especially towards the end of the book where he did what was morally right, but resulted in his financial downfall.
Thank you #Netgalley for this ARC
I really loved this book and have found myself thinking about István and the decisions he made in his life, especially towards the end of the book where he did what was morally right, but resulted in his financial downfall.
Thank you #Netgalley for this ARC
This entire review has been hidden because of spoilers.
January 30, 2025
This book was unlike anything I have ever read before. The author somehow creates such an interesting and complex character out of a gentleman who, quite frankly, has little to no personality at all. At least not one that he shows to people.
The novel follows said character from his younger teen years onward, all the relationships he creates along the way and his various life experiences.
The writing is blunt, straight to the point, and yet I could not stop reading this book. Something about it had me in its grip, and I found myself really caring for our main character by the end.
I will say that because the writing is so straightforward, this book will not be for everyone. But if you’re after a unique character study that’s very easy to read, this could be the one for you.
*Thank you NetGalley and Vintage for the ARC*
The novel follows said character from his younger teen years onward, all the relationships he creates along the way and his various life experiences.
The writing is blunt, straight to the point, and yet I could not stop reading this book. Something about it had me in its grip, and I found myself really caring for our main character by the end.
I will say that because the writing is so straightforward, this book will not be for everyone. But if you’re after a unique character study that’s very easy to read, this could be the one for you.
*Thank you NetGalley and Vintage for the ARC*
March 6, 2025
I remember once in school analysing a renowned painting in one of London’s galleries (the Tate), and the question was asked of the lecturer why the nudity; graphic explicit nudity, portrayed in the painting, was acceptable when discussion or glorification of porn magazines generally is not.
That’s sort of how I feel about David Szalay’s writing. There is full on sex described on a high proportion of pages, and it’s the sort of (mostly male) sex that would appeal, I think, to occasional, and non “literary� readers�. If you were writing a novel about hedonism and a summer spent in Ibiza, then many of Szalay’s descriptions would fit in seamlessly.
But Szalay’s writing style is clever, and laden with suspense. Human insight builds gradually in small increments and arguably represent the reality of many people’s lives which are not necessarily marked by a planned, or coherent life path, or of studied ambition. Structurally, the way in which Szalay’s stories are presented (across his work) are always stimulating, and different. Szalay has a style that’s unique to him, and the perennial discussion about whether he is writing a series of short stories ”linked� or a long form novel, does, I think, miss the subtlety of the way he presents his themes. Flesh is just a more obvious single entity because of the presence of the central character, Istvan, throughout the book, but I’m in the camp that believes all his work (for example All that Man Is is a cohesive whole.
Szalay writes a lot of dialogue in Flesh. It’s all in the form of questions put to Istvan. Istvan is rarely the initiator of conversations and his non-committal, and monosyllabic, responses are actually quite frustrating! They are necessary and appropriate for the reader to understand his (often random) life journey. Szalay’s stock in trade is male dysfunction, and awkwardness, and there’s plenty of this on display. Its said of Istvan, by a lover, that he totally ‘non-judgemental�. That’s true, and it’s the reason that he is, perversely, a character the reader comes to respect, despite his propensity to drift through life. At his core he is demonstrably not a selfish person, and that’s rare.
Although my prevailing response to the book centres on the sexual elements, and the sense of conversational inadequacy, there is a powerful central message concerning the displacement that is consequent to life’s unexpected turns. It’s tempting to think that this is a rather sad and depressing view of man’s time on earth, and it’s a salutary tale to all of us that everything can change suddenly and dramatically.
Overall I enjoyed this reading experience very much and after reading five Szalay novels I will eagerly pick up his next publication, whenever that might be.
In conversation with journalist Rachel Cooke. Foyles London 05.03.2025
� The road to publication of flesh was drawn out and not straightforward. DS had written and then abandoned a novel, comprising 100,000 words, and had structural problems. Not all was wasted and chapter one in Flesh survived the cut.
� DS set out to feature a character who is inarticulate: presents challenges in the written form, and when answering questions at a book launch!
� Similarly restricting in interviews is the fact that the point of the book is not to describe the vents, or the backdrop, in any great detail
� DS is drawn to writing about the cyclical nature of life. Doesn’t think its realistic to tell stories with a strong sense of purpose.
� Mother is the only (other) character with a presence throughout the book. This humanises Istvan.
� Each chapter is self contained. Has the virtue of enabling the reader to put down for a few days and pick up again seamlessly.
� DS concerned that using words to describe the story are often reductive and take away from the true meaning
� There are no acknowledgements in the book. This was knowing and deliberate, and designed to make the books end the more finite.
� The interviewer (who loved the book) asked, tongue-in-cheek ‘do all men think in the ways as depicted in the book?� It was an observation rather than a question (unfortunately) because it raises an interesting point about Szalay’s writing. Its highly sexual writing; it could be construed as being misogynistic. Is the protagonist’s thought process disrespectful? I think this opens up the essence of Szalay’s masculine writing style. His male leads (and Istvan is a great example) are the opposite of predatory. It’s women who initiate contact, and Istvan is meticulous in asking and confirming permission for any act of intimacy.
That’s sort of how I feel about David Szalay’s writing. There is full on sex described on a high proportion of pages, and it’s the sort of (mostly male) sex that would appeal, I think, to occasional, and non “literary� readers�. If you were writing a novel about hedonism and a summer spent in Ibiza, then many of Szalay’s descriptions would fit in seamlessly.
But Szalay’s writing style is clever, and laden with suspense. Human insight builds gradually in small increments and arguably represent the reality of many people’s lives which are not necessarily marked by a planned, or coherent life path, or of studied ambition. Structurally, the way in which Szalay’s stories are presented (across his work) are always stimulating, and different. Szalay has a style that’s unique to him, and the perennial discussion about whether he is writing a series of short stories ”linked� or a long form novel, does, I think, miss the subtlety of the way he presents his themes. Flesh is just a more obvious single entity because of the presence of the central character, Istvan, throughout the book, but I’m in the camp that believes all his work (for example All that Man Is is a cohesive whole.
Szalay writes a lot of dialogue in Flesh. It’s all in the form of questions put to Istvan. Istvan is rarely the initiator of conversations and his non-committal, and monosyllabic, responses are actually quite frustrating! They are necessary and appropriate for the reader to understand his (often random) life journey. Szalay’s stock in trade is male dysfunction, and awkwardness, and there’s plenty of this on display. Its said of Istvan, by a lover, that he totally ‘non-judgemental�. That’s true, and it’s the reason that he is, perversely, a character the reader comes to respect, despite his propensity to drift through life. At his core he is demonstrably not a selfish person, and that’s rare.
Although my prevailing response to the book centres on the sexual elements, and the sense of conversational inadequacy, there is a powerful central message concerning the displacement that is consequent to life’s unexpected turns. It’s tempting to think that this is a rather sad and depressing view of man’s time on earth, and it’s a salutary tale to all of us that everything can change suddenly and dramatically.
Overall I enjoyed this reading experience very much and after reading five Szalay novels I will eagerly pick up his next publication, whenever that might be.
In conversation with journalist Rachel Cooke. Foyles London 05.03.2025
� The road to publication of flesh was drawn out and not straightforward. DS had written and then abandoned a novel, comprising 100,000 words, and had structural problems. Not all was wasted and chapter one in Flesh survived the cut.
� DS set out to feature a character who is inarticulate: presents challenges in the written form, and when answering questions at a book launch!
� Similarly restricting in interviews is the fact that the point of the book is not to describe the vents, or the backdrop, in any great detail
� DS is drawn to writing about the cyclical nature of life. Doesn’t think its realistic to tell stories with a strong sense of purpose.
� Mother is the only (other) character with a presence throughout the book. This humanises Istvan.
� Each chapter is self contained. Has the virtue of enabling the reader to put down for a few days and pick up again seamlessly.
� DS concerned that using words to describe the story are often reductive and take away from the true meaning
� There are no acknowledgements in the book. This was knowing and deliberate, and designed to make the books end the more finite.
� The interviewer (who loved the book) asked, tongue-in-cheek ‘do all men think in the ways as depicted in the book?� It was an observation rather than a question (unfortunately) because it raises an interesting point about Szalay’s writing. Its highly sexual writing; it could be construed as being misogynistic. Is the protagonist’s thought process disrespectful? I think this opens up the essence of Szalay’s masculine writing style. His male leads (and Istvan is a great example) are the opposite of predatory. It’s women who initiate contact, and Istvan is meticulous in asking and confirming permission for any act of intimacy.
February 22, 2025
David Szalay first came to my attention in 2016 when his short story collection “All That Man Is� was shortlisted for (and it seems came close to winning) the Booker Prize � which was a little odd as it seemed that the only people who thoughts it qualified as unified and substantial long-form fiction was the author and (at least some of) the judges. The collection itself had different protagonists who progressed though ages and had themes of European travel, life on the periphery and the crisis of masculinity. His next collection “Turbulence� was published in 2018 � a series of linked up vignettes based around European air travel.
This, his latest due to be published in 2025, has many of the same ideas � vignettes across a life (from age 15 until into the 60s), a theme of modern masculinity, European travel � but this time in very much a novel format as the vignettes are from the life of the same character István.
An excerpt from the novel � effectively I believe its third chapter � was published in the New Yorker in December 2024 and the accompanying interview with Szalay is an excellent summary of the distinctive approach he has taken with: the character of the protagonist of this novel (passive, more a recipient than instigator of actions); the narrative style (deliberately pared back and straightforward); the dialogue (choppy, short interactions often marked by evasion or omission); the lack of interiority of the narrator � despite being effectively a close third person point of view we know far more about what is happening to his body than what he is thinking or feeling.
Some excerpts from the interview
The novel opens when István is fifteen and seduced by a forty-something year old neighbour who (at this mother’s request) he helps with her shopping � an affair described I have to say in far too much detail and which means that the novel for me got off to a very rocky start � when István starts to talk about love, the neighbour breaks things off leading to a fateful confrontation with her husband.
In the second chapter after István has left a young offenders institution he falls in with a small cross-border smuggling gang, drifts around and then is forced by his mother (setting up a recurring theme that she is the driver for much of his life choices) to get a job and “unable to find anything else, he he joins the army�.
The aforementioned third chapter starts with he and his Hungarian colleagues travelling back from the Iraq war and after some more sexual encounters (another recurring theme) he takes a job at a winery only to end in hospital after he suddenly punches the wall. The Doctor that treats him is an old schoolmate, and as well as the encounter eventually leading to him seeing a therapist about an incident in Iraq where he was unable to save a colleague from an IED and from which he is now suffering PTSD and being successfully prescribed anti-depressants, it also causes him to at least partly develop some ambition (as he contrasts his life choices and current situation with the Doctors).
We then next join him in England � where he has gone presumably taking advantage of the EU freedom of movement, although even there he is less successful and settled than he had hoped � drifting into a job as a bouncer at a strip club before a chance encounter with someone being mugged gets him a job working for an agency providing drivers and bodyguards to the rich � and the start of his own rise (the man he rescued giving him a crash course in to how to blend in among privilege).
The fifth chapter he his now working full time for a super rich (private jet and helicopter, London luxury pad, country estate) couple where he has a brief affair with the couple’s child’s Nanny and a much longer one with the wife, an affair which continues and becomes riskier as the husband undergoes treatment in a private German clinic for advanced cancer.
And this, just over half way through the novel, is where for me the novel rather changes:
Not necessarily for the worse: to be honest the flatness of the prose, the denuded dialogue � see below, the physicality and masculinity � while all deliberate � are almost the opposite of what I want in a novel. In terms of the dialogue, István’s favourite answer is “Okay� � a word which appears no less than 340 times in the novel (I would argue once was too many in most novels), here for example is a key encounter with his employer shortly before they start their affair
But also not necessarily for the better: as its almost as though Szalay loses some of his focus/intent and further the story enters the realms of the elite/super rich in a way which takes it away from most lived experience and reminded me of the flaws of Andrew O’Hagan’s Caledonian Road � with which it seems to have a lot of overlap as we end up in a story of István now married to his ex employer turning into (partly of course at his mother’s suggestion) a slightly shady property developer trying to call in political favours and also taking advantage of his step-son (who has never reconciled to his suspected affair and then resented marriage to his now widowed mother) and the trust fund he will receive when twenty five but which his mother can manage before that. This latter detail seems rather far fetched and a terrible car crash, a further affair (with about the only named female other than his mother he has not slept with), a near fatal drug overdose and then the resurfacing of István’s latent violence only stretch this lengthy section to and beyond the point of melodrama
So that it is a relief when we rejoin in the last chapter István back in Hungary, living with his mother, working in a dead end job, having a desultory affair (of course) and saying things are “okay�.
And so is this book � okay.
My thanks to Vintage, Jonathan Cape for an ARC via NetGalley
This, his latest due to be published in 2025, has many of the same ideas � vignettes across a life (from age 15 until into the 60s), a theme of modern masculinity, European travel � but this time in very much a novel format as the vignettes are from the life of the same character István.
An excerpt from the novel � effectively I believe its third chapter � was published in the New Yorker in December 2024 and the accompanying interview with Szalay is an excellent summary of the distinctive approach he has taken with: the character of the protagonist of this novel (passive, more a recipient than instigator of actions); the narrative style (deliberately pared back and straightforward); the dialogue (choppy, short interactions often marked by evasion or omission); the lack of interiority of the narrator � despite being effectively a close third person point of view we know far more about what is happening to his body than what he is thinking or feeling.
Some excerpts from the interview
István does not affect history, history affects István …�. I suppose I’d regard that kind of relationship, of the individual human being to events outside their control, as something universal, and the vital question is how we deal with being on the receiving end of it—how we deal with it practically, emotionally, even spiritually, ultimately. It’s the question raised by classical tragedy …�.. The story is also about numbness, which is also quite difficult to talk about in a compelling way. It has to be achieved by a process of cumulative suggestion. So the narrative style tries to express it. The lack of significant communication between the characters, as well ………� An inarticulate protagonist—a protagonist who isn’t much given to verbally analyzing his own experience—seemed to provide an opportunity to approach things another way, indirectly or suggestively. What’s not said is as important, in this story and in the novel as a whole, as what is ………�.. István’s relationship to his body is central to the novel, I think. Although the very form of the question—which separates István from his body—to some extent takes us away from the novel’s point of view, which is that István basically is his body. In other words, the novel, and the story published here, try to look at life as, first and foremost, a physical experience. They explore the idea that physical experience is primary, and that most other kinds of experience that we might have follow from that.
The novel opens when István is fifteen and seduced by a forty-something year old neighbour who (at this mother’s request) he helps with her shopping � an affair described I have to say in far too much detail and which means that the novel for me got off to a very rocky start � when István starts to talk about love, the neighbour breaks things off leading to a fateful confrontation with her husband.
In the second chapter after István has left a young offenders institution he falls in with a small cross-border smuggling gang, drifts around and then is forced by his mother (setting up a recurring theme that she is the driver for much of his life choices) to get a job and “unable to find anything else, he he joins the army�.
The aforementioned third chapter starts with he and his Hungarian colleagues travelling back from the Iraq war and after some more sexual encounters (another recurring theme) he takes a job at a winery only to end in hospital after he suddenly punches the wall. The Doctor that treats him is an old schoolmate, and as well as the encounter eventually leading to him seeing a therapist about an incident in Iraq where he was unable to save a colleague from an IED and from which he is now suffering PTSD and being successfully prescribed anti-depressants, it also causes him to at least partly develop some ambition (as he contrasts his life choices and current situation with the Doctors).
We then next join him in England � where he has gone presumably taking advantage of the EU freedom of movement, although even there he is less successful and settled than he had hoped � drifting into a job as a bouncer at a strip club before a chance encounter with someone being mugged gets him a job working for an agency providing drivers and bodyguards to the rich � and the start of his own rise (the man he rescued giving him a crash course in to how to blend in among privilege).
The fifth chapter he his now working full time for a super rich (private jet and helicopter, London luxury pad, country estate) couple where he has a brief affair with the couple’s child’s Nanny and a much longer one with the wife, an affair which continues and becomes riskier as the husband undergoes treatment in a private German clinic for advanced cancer.
And this, just over half way through the novel, is where for me the novel rather changes:
Not necessarily for the worse: to be honest the flatness of the prose, the denuded dialogue � see below, the physicality and masculinity � while all deliberate � are almost the opposite of what I want in a novel. In terms of the dialogue, István’s favourite answer is “Okay� � a word which appears no less than 340 times in the novel (I would argue once was too many in most novels), here for example is a key encounter with his employer shortly before they start their affair
‘Karl says you were in the army,� Mrs Nyman says.
‘Y.�
‘How was that?� she asks.
‘How was that?� The traffic is moving again and he has to focus on it for a moment
‘Yes,� she says.
‘It was . . .� He wonders what to say, what sort of answer she’s looking for. ‘It was okay,� he says.
‘It was okay?�
‘Y.�
‘What does that mean?� she asks.
‘What does it mean?�
‘Y.�
‘It means . . . it was okay.�
‘What do you mean okay? What does that actually mean?� she says. ‘When you say It was okay you’re not actually saying anything are you?�
But also not necessarily for the better: as its almost as though Szalay loses some of his focus/intent and further the story enters the realms of the elite/super rich in a way which takes it away from most lived experience and reminded me of the flaws of Andrew O’Hagan’s Caledonian Road � with which it seems to have a lot of overlap as we end up in a story of István now married to his ex employer turning into (partly of course at his mother’s suggestion) a slightly shady property developer trying to call in political favours and also taking advantage of his step-son (who has never reconciled to his suspected affair and then resented marriage to his now widowed mother) and the trust fund he will receive when twenty five but which his mother can manage before that. This latter detail seems rather far fetched and a terrible car crash, a further affair (with about the only named female other than his mother he has not slept with), a near fatal drug overdose and then the resurfacing of István’s latent violence only stretch this lengthy section to and beyond the point of melodrama
So that it is a relief when we rejoin in the last chapter István back in Hungary, living with his mother, working in a dead end job, having a desultory affair (of course) and saying things are “okay�.
And so is this book � okay.
My thanks to Vintage, Jonathan Cape for an ARC via NetGalley
April 5, 2025
Brilliant, amazing book. I've read everything Szalay has written so I suppose you'd have to say I'm a fan, which might mean I'm biased. Nevertheless, I do think this is his best yet.
First of all, he takes some really big risks here. And they all come off.
The irregular time-gaps between chapters � works. As a reader, when you realise that's what's happening, you're immediately intrigued to find out how much time has passed when you start a new chapter. And he always finds a clever way to let you know.
Not describing the characters � works. In 99.8% of all books, the writer describes the characters. What happens if they don't? Amazingly, it still works. I formed perfectly detailed pictures of the characters in my head (was seeing Istvan as Grant Mitchell haha) just from how they behave and what they say. Very cool.
Boring dialogue � works. Most of the time, the characters say very little of consequence to each other. They discuss where they'd like to go for dinner, or whether they enjoyed a recent holiday. And yet it's never boring to the reader. It feels so authentic, you can't help but find it compelling. Plus it throws focus onto what they're NOT saying.
Passive protagonist � works. In every piece of writing advice ever written, we're told the protagonist must be active. They must act in pursuit of a goal. Istvan has none. Again, this creates huge authenticity. In real life, we usually just drift along, don't we? Buffeted by circumstance. The Adventures of Augie March by Saul Bellow is one of the few novels I can think of that pulls the same trick, but Flesh is honestly better. (Augie March is a bit bloated). Oh, before I forget... protagonist has no character arc either!
Before you start to think I'm a mindless fan-boy, I can admit that Flesh is not perfect. For example, there is an over-use of one particular dialogue trope that definitely began to grind my gears. Here's an example (made up by me):
"How are you enjoying it?"
"Enjoying what."
"The book."
"It's okay."
I don't mind the constant repetition of "it's okay" because that serves to underline how uncommunicative and inarticulate certain characters are. I'm referring to one character having to confirm to another what they're asking about. Is that authentic, that it should be so frequent?
Also, there was one important moment, where the protagonist observes a vitally important scene through a window... it felt a little too convenient to me that he should happen to be there at that moment.
Anyway, I only mention those two points to give this review a bit of light-and-shade. Overall, I do think it's a brilliant book. Should definitely be on the Booker shortlist. And potentially win, depending on what it's up against.
One last point I should mention. This is a highly 'masculine' book. The protagonist is hyper-masculine. I'm not going to get into a debate here between the intersection of masculinity and misogyny. I guess I'm just leaving a somewhat coded warning for female readers.
First of all, he takes some really big risks here. And they all come off.
The irregular time-gaps between chapters � works. As a reader, when you realise that's what's happening, you're immediately intrigued to find out how much time has passed when you start a new chapter. And he always finds a clever way to let you know.
Not describing the characters � works. In 99.8% of all books, the writer describes the characters. What happens if they don't? Amazingly, it still works. I formed perfectly detailed pictures of the characters in my head (was seeing Istvan as Grant Mitchell haha) just from how they behave and what they say. Very cool.
Boring dialogue � works. Most of the time, the characters say very little of consequence to each other. They discuss where they'd like to go for dinner, or whether they enjoyed a recent holiday. And yet it's never boring to the reader. It feels so authentic, you can't help but find it compelling. Plus it throws focus onto what they're NOT saying.
Passive protagonist � works. In every piece of writing advice ever written, we're told the protagonist must be active. They must act in pursuit of a goal. Istvan has none. Again, this creates huge authenticity. In real life, we usually just drift along, don't we? Buffeted by circumstance. The Adventures of Augie March by Saul Bellow is one of the few novels I can think of that pulls the same trick, but Flesh is honestly better. (Augie March is a bit bloated). Oh, before I forget... protagonist has no character arc either!
Before you start to think I'm a mindless fan-boy, I can admit that Flesh is not perfect. For example, there is an over-use of one particular dialogue trope that definitely began to grind my gears. Here's an example (made up by me):
"How are you enjoying it?"
"Enjoying what."
"The book."
"It's okay."
I don't mind the constant repetition of "it's okay" because that serves to underline how uncommunicative and inarticulate certain characters are. I'm referring to one character having to confirm to another what they're asking about. Is that authentic, that it should be so frequent?
Also, there was one important moment, where the protagonist observes a vitally important scene through a window... it felt a little too convenient to me that he should happen to be there at that moment.
Anyway, I only mention those two points to give this review a bit of light-and-shade. Overall, I do think it's a brilliant book. Should definitely be on the Booker shortlist. And potentially win, depending on what it's up against.
One last point I should mention. This is a highly 'masculine' book. The protagonist is hyper-masculine. I'm not going to get into a debate here between the intersection of masculinity and misogyny. I guess I'm just leaving a somewhat coded warning for female readers.
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