Booker Prize judge and Pulp frontman Jarvis Cocker said it was a “surprise” that that four novels written by men have ended up on this year’s shortlist of six – because, “generally speaking, the male-written books weren’t as good as the ones written by women”. The male authors still in the running for the prestigious 2026 literary award are those who are able to “rethink their roles”.
‘Masculine authority in crisis’
This year’s shortlisted authors span a “generational arc”, stretching from 40-year-old Rebecca Perry to the “81-year-old veteran of experimental speculative fiction” M. John Harrison, said Johanna Thomas-Corr in The Times. Men outnumber women but the “novels’ subject matter” is “more revealing” than any author’s “identity characteristics”. An “overarching theme” emerges: “masculine authority in crisis – and discomfort”. These are tales of fathers, sons and husbands who are “struggling to inhabit the roles, structures and stories that are supposed to contain them”.
Luke Kennard’s brilliantly funny campus novel, “Black Bag”, sees an out-of-work actor paid to lurk inside a “leather suit bag, as status and confidence evaporate”, while Douglas Stuart “examines the weight of male expectation” in “John of John”, a story about a young gay art student who returns to his repressive home in the Hebrides. In “The Disappearers”, Marlon James charts how masculinity is “brutally policed” in a murderous homophobic attack in 1980s Jamaica, and Harrison’s “unsettling” post-apocalyptic tale “tests the masculine survivalist fantasy of practical competence”.
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The female authors on the list also turn their lens on male characters: Elizabeth Strout’s book is a “domestically precise” portrayal of an increasingly isolated husband, while Perry follows a “reluctant medieval monarch who inherits the ultimate ‘great man’ role without wanting it”.
None of the books fulfill expectations of what a “male” novel is meant to be. Instead, they reject the very things that male protagonists would once have taken “for granted”, from sexual legitimacy and paternal authority to economic security and “mastery of the world”.
‘Are men OK?’
Last year’s winner, David Szalay’s “Flesh”, a rags-to-riches story about a Hungarian man catapulted into the world of the super-wealthy, sparked much debate about “literary fiction’s renewed interest in masculinity”, said Anthony Cummins in The Observer. This year’s list will only intensify the discussion, “the theme of which might be summed up as: are men OK?”
Some of the writers are “playfully experimental” and I’m glad to see Kennard’s “howlingly funny” book made the cut. His is the “most purely enjoyable” read and contains the “single best scene of any of the novels on the list (if you’ve read it you’ll know the one I’m talking about)”. I found the politics in Strout’s book about a history teacher living through “the second coming” of Donald Trump “too unsubtle”, and Perry and Kennard, “the juniors in the pack”, have “better novels to come”. If “seduced by heft”, the judges might opt for James’ “gruelling saga” but “I suspect it’s the straightforward page-turning jeopardy” of Stuart’s “John of John” that will scoop the top prize.
I’m betting on “British oddball” Harrison, said Lucy Thynne in The Telegraph. This is the first time the octogenarian cult sci-fi writer has got “so much as a look-in” at the Booker, and, if he takes the gong, he’ll be the “oldest winner in its history”. His “stunningly weird vision of the collapse of England” is a “cut above” the other contenders. “I would love it to win”.
