When the first volume of Estonian master Jaan Kross’s peerless historical trilogy first appeared in an English translation by Merike Lepasaar Beecher back in 2016, what leapt out at me about this fictionalised saga about the adventures of real-life chronicler Balthasar Russow was how much it had in common with the Thomas Cromwell of Hilary Mantel’s Wolf Hall.

From Kafka’s spry sketches to Derek Owusu’s novel-poem, and Jaan Kross’s Estonian Wolf Hall to Katherine Rundell’s spirited biography of John Donne, our reviewers take the time to share their favourite books of 2022. 

Johanne Lykke Holm’s spellbinding novel Strega recounts one teen’s journey into womanhood. Leaving her parental home to work with eight other girls in a lavish but mouldering hotel, Rafa grapples with what it means to be a woman in a world literally and culturally saturated with gender-based violence.

Some years after Chronicles (2004) a book that broke moulds and delighted with its originality, and as with albums that often came with changes of attitude and style, Bob Dylan's "philosophy" comes as something of a surprise.

Major Labels: A History of Popular Music in Seven Genres is American critic Kelefa Sanneh’s ambitious survey of musical history. As such, it risks remaining only a surface-level summary of the seven genres he describes. I was wrong to worry, though: despite its broad coverage, Sanneh’s study is informative and personal, providing overviews of but also covering smaller diversions and developments within rock, R&B, country, punk, hip-hop, dance and pop.

Ivor Cutler: A Life Outside the Sitting Room by Bruce Lindsay, is the first full-length biography of the Glasgow-born poet, author, performer and songwriter. The book will be published on the centenary of Cutler’s birth, 15 January 2023. 

As our favourite rock stars become elders, there has been a steady flow of autobiographies, some ghosted, some authentically authored; more or less confessional, revisiting the ups and downs of life-journeys lived beyond the fatal 27^th birthday that seems to have knocked an uncanny number of them out of play.

On April Fool’s Day, in 1978, the godmother of American punk, Patti Smith, jumped offstage at the Rainbow Theatre in London halfway through a version of “The Kids Are Alright” and started dancing in the crowd. Her vertiginous feat was also a leap of the imagination, a typical punk act that seemed to collapse the distance between performer and audience.

Derek Owusu’s debut That Reminds Me won the Desmond Elliot Prize in 2020. When asked what it was that she loved most about Owusu’s semi-autobiographical 117-page book, Preti Taneja, chair of the judges (and winner of the prize herself in 2018) answered, without hesitation, “the form” and Owusu’s “compression of poetic language”. Owusu’s latest work, Losing the Plot, imagines what life was like for his 18-year-old mother when she arrived in London from Ghana in 1989.

Scenes that stay in the mind: Arnold Schwarzenegger as the Terminator peeling back the skin on his forearm to reveal the gleaming machinery within; a beady-eyed, new-born Alien bursting from John Hurt’s abdomen; that all-species bar in Star Wars; the spaceship’s long-awaited descent in Close Encounters.