Boombox by Gabriel Cohen (Academy Chicago Publishers 2007)

"are there any other black executives in your office?" she asks.

He pauses for a moment. "There's one other vice-president. To tell you the truth, though" - he grins, almost in apology - "I don't like him much."

Emboldened by the wine, by their growing intimacy, she asks, "Do you ever feel lonely at work?"

He looks sad all of a sudden. "You know," he says wistfully, "down where I come from, we have a saying: In the South, black folks can get as close as they want to white folks, but just don't try to move high in their world. In the North, you can get as high as you want, as long as you don't get close."

That seems to sum things up. She looks frankly at him, and he returns the look. In all her nervous thoughts about what might happen when two people come together, this is something she has overlooked: a chance to be understood.

Believe in the Sign by Mark Hodkinson (Pomona 2007)

Back then mums and dads didn't go in for quality time or anything so fey with their kids. They lived their lives (whatever that involved) and you were left to yours. You could play football in the street. Or lie flat on a railway sleeper floating through a culvert on the canal. Or you could follow the motorway for miles on the other side of the fence, passing through factory units and farm yards. Or you could see who could jump furthest down concrete steps on the stairwells at Ashfield Valley flats, carrying the whimpering victor home later. Or you could get out your bike and ride to Hollingworth Lake where the tougher kids, knees knocking, chins trembling, waded out into the icy blue, fearful of gigantic child-eating pikes.

Learning to Drive: And Other Life Stories by Katha Pollitt (Random House 2007)

I should say that it was only for me that Marxism seemed over. Surely, I would tell G. at least once a week, it had to count for something that every single self-described Marxist state had turned into an economically backward dictatorship. Irrelevant, he would reply. The real Marxists weren't the Leninists and Stalinist and Maoists - or the Trotskyists either, those bloodthirsty romantics - but libertarian anarchist-socialists, people like Anton Pannekoek, Herman Gorter, Karl Korsch, scholarly believers in true workers' control who had labored in obscurity for most of the twentieth century, enjoyed a late-afternoon moment in the sun after 1968 when they were discovered by the New Left, and had now once again fallen back into the shadows of history, existing mostly as tiny stars in the vast night of the Internet, archived on blogs with names like Diary of a Council Communist and Break Their Haughty Power. They were all men. The group itself was mostly men.

This was, as Marxists used to say, no accident. There was something about Marxist theory that just did not appeal to women. G. and I spent a lot of time discussing the possible means for this. Was it just that women don't allow themselves to engage in abstract speculation, as he thought? That Marxism is incompatible with feminism, as I sometimes suspected? Or perhaps the problem was not Marxism but Marxists: in its heyday men had kept a lock on it as they did on everything they considered important; now, in its decline, Marxism had become one of those obsessive lonely-guy hobbies, like collecting stamps or 78s. Maybe, like collecting, it was related , through subterranean psychological pathways, to sexual perversions, most of which seemed to be male as well. You never hear about a female foot fetishist, or a woman like the high-school history teacher of a friend of mine who kept dated bottles of his own urine on a closet shelf.

Then We Came to the End by Joshua Ferris (Bay Back Books 2007)

We believed that downturns had been rendered obsolete by the ingenious technology of the new economy. We thought ourselves immune from things like plant closings in Iowa and Nebraska, where remote Americans struggled against falling-in roofs and credit card debt. We watched these blue-collar workers being interviewed on TV. For the length of the segment, it was impossible not to feel the sadness and anxiety they must have felt for themselves and their families. But soon we moved on to weather and sports and by the time we thought about them again, it was a different plant in a different city, and the state was offering dislocated worker programs, readjustment and retraining services, and skills workshops. They'd be fine. Thank god we didn't have to worry about a misfortune like that. We were corporate citizens, buttressed by advanced degrees and padded by corporate fat. We were above the fickle market forces of overproduction and mismanaged inventory.

What we didn't consider was that in a downturn, we were the mismanaged inventory, and we were about to be dumped like a glut of imported circuit boards. On the drive home we puzzled over who was next. Scott McMichaels was next. His wife had just had a baby. Sharon Turner was next. She and her husband had just purchased a house. Names - just names to anyone else, but to us they were individuals who generated our greatest sympathy. The ones who put their things in a box, shook a few hands, and left without complaint. They had no choice in the matter, and they possessed a quiet resignation to their ill-timed fates. As they departed, it almost felt to us like self-sacrifice. They left, so that we might stay. And stay we did, though our hearts went out to them. Then there was Tom Mota, who wanted to throw his computer against the window.

I Love You, Beth Cooper by Larry Doyle (Ecco Books 2007)

Rich had had a much less tragedy-free life. We needn't go into the details, since it's a long, sad and ultimately unoriginal story, but as a result Rich had developed a coping mechanism by which all of the terrible things that happened to him were merely wacky complications that would, before the movie of his life was over, be resolved in an audience-pleasing happy ending. He occasionally worried his life might be an independent film, or worse, a Swedish flick, but he chose to behave as if the movie he lived was a raucous teen comedy and he was somebody like Ferris Bueller or Otter from Animal House, or, worst-case scenario, that guy who fucked a pie.

'77 Sulphate Strip by Barry Cain (Ovolo Books 2007)

The Jam

Royal College of Art, London

It's a godawful small affair . . .

Stage as long as Platform six at Victoria station. Baggageless porters The Jam 40 feet apart and monitorless. Full house. Lights! The Tyla Gang before and the Cimarrons after.

An artless audience at the Royal College of Art show their appreciation of the white-soul boys up there on the stage with the huge Union Jack backdrop depicting the three moods The Jam take you through at a gig - red hot expanding into white heat, contracting into teenage blue.

In case you’ve forgotten, guitarist Paul Weller, bassist Bruce Foxton and drummer Rick Buckler are The Jam. They are not, I repeat not a recycled Who. They write concise, contemporary songs like ‘ln The City’, ‘Bricks & Mortar' and 'I’ve Changed My Address’ enhancing the overall effect with a shrewd selection of old material 'Batman’, ‘So Sad About Us’ and ‘Midnight Hour'. The result? A well-equipped show; incisive, dynamic, piebald. Black suits, white lights, black ties, white shirts, black thoughts, white rock. They won't blow it now.

The Jam always come across as much younger than other bands, like Brian Kidd in a team of Bobby Charltons. They have the pace and the sneer - Paul Weller could hardly be described as ‘this smiling man’. He drinks but refuses to take drugs on the grounds that they are immoral, debilitating and, well, uncool. Drug-induced confidence is unnecessary for the cool dude that's Paul Weller. But he gets more hangovers that way.

Paul is cool because he's a man with a genuine talent who hasn't quite realised it yet. And that's when the good stuff comes.