Daily Express

MY SIX BEST BOOKS

- CAROLINE REES

ANTONY BEEVOR, 71, is a military historian whose books include the award-winning Stalingrad, Berlin: The Downfall 1945 and The Second World War. His latest, Arnhem: The Battle For The Bridges, 1944 (Viking, £25), is out now. YOUR FACE TOMORROW

by Javier Marías

Penguin, £9.99 each Marías’s novel in three volumes constitute­s one of the greatest works in modern European literature. His protagonis­t works for a secret department whose task is to attempt to predict people’s future actions.

Twisting like the double helix of human DNA, it is an unashamed novel of ideas. ON BEAUTY

by Zadie Smith

Penguin, £8.99 Although inspired by EM Forster’s Howards End and richly comic in its portrayal of the paradox of contempora­ry mores and political correctnes­s, this is no pastiche.

I think it is her greatest novel as she subverts stereotype­s brilliantl­y and mischievou­sly. THE RED AND THE BLACK

by Stendhal

Penguin, £9.99 A compelling novel of love, ambition, obstinacy and romantic tragedy. It features a fascinatin­g fictional hero, a brilliant meritocrat who is brought down by the reactionar­y French establishm­ent. I first read it in Paris 45 years ago. FATHERS AND SONS

by Ivan Turgenev

Penguin Classics, £7.99 The simplicity and beauty of the prose, plus Turgenev’s uncanny gift to convey mood and character in a few words, provide an object lesson for every aspiring writer. LIFE AND FATE

by Vasily Grossman

Vintage, £10.99 This is an homage to Leo Tolstoy’s War And Peace but the characters and the terrible dilemmas they face when confronted by the moral distortion­s of the system are entirely the product of the Stalinist period. When I was researchin­g Stalingrad, I found Grossman’s original notebooks about that battle. His eye for detail was extraordin­ary. CATCH-22

by Joseph Heller

Vintage, £9.99 Probably the most devastatin­g satire written about the lunacy of war and military bureaucrac­y. Set in Italy towards the end of the Second World War it is a triumph of constructi­on with its fiendishly unbreakabl­e circle of counter-logic.

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