The Line of Beauty is a 1980s-set novel covered the peak years of Margaret Thatcher’s Conservative rule and the growth of the AIDS crisis. It focuses on Nick Guest, a recent Oxford graduate writing his PhD on Henry James. Now living in a Notting Hill townhouse belonging to the parents of his college friend (and crush) Toby Fedden. The patriarch of the family is Thatcher-obsessed MP Gerald Fedden, married to Rachel and also father to Catherine, a troubled character who forms a closer bond with Nick.

Vernon God Little is the story of Vernon Gregory Little, a teenager in smalltown Texas whose life is turned upside down when his best friend is responsible for a massacre at his high school. Although Vernon was absent for the event in question, running an errand for his teacher, he ends up being pinned with blame for the atrocity, accused of being an accessory and eventually perpetrator of the crime. He’s undone by a combination of outright self-serving treachery (from his mother’s romantic interest and all-round sleaze “Lally”), poor decision making from older relatives and friends (who encourage his repeated escapes from law and order) and herd mentality (where eventually everyone, including his own mother, comes to blame him, because the telly tells them to…)

Life of Pi is the story of Piscine Molitor “Pi” Patel, an Indian Tamil boy who grows up in Pondicherry as the son of a zookeeper. The novel is divided into three sections, framed by an author’s note which unusually is also a fiction. The longest middle section sees Pi cast adrift in the Pacific Ocean as his Canada-bound ship sinks without explanation. He recounts his tale of survival, adrift on a lifeboat in the company of Bengal tiger called Richard Parker, for 227 days.

True History of the Kelly Gang is a heavily fictionalized account of the Australian legend of Ned Kelly, a national icon to many, a “horse-thief and murderer” to others. Set in late nineteenth century Victoria, in a rural landscape north-east of Melbourne, it covers Kelly’s life from childhood through through his apprenticeship with notorious bushranger Harry Power, to infamy with his brother and two friends as the “Kelly Gang”, culminating in a dramatic shootout with the gang clad in “ironman” costumes.

The Blind Assassin contains three layers of narrative (all, it seems, titled The Blind Assassin.) The main story is realist novel with a grand historical sweep across major events of Canadian and world history, narrated by Iris Chase-Griffen, from the vantage point of the present day and addressed to her one surviving granddaughter. In this narrative, she reflects on her life and especially her relationship with her sister Laura, who died in a (presumably deliberate) car crash 10 days after the end of the Second World War. We also learn that her husband, the businessman and aspiring politician Richard Griffen, drowned shortly afterwards.

In this mass media glare of the 90s Booker,  there’s evidence here and there of yet more self-consciousness on the part of the rotating panel of judges. There’s the occasional tendency to try to replicate old success stories, which more often than not falls flat. Experimentation happens here and there, welcome when it does, however successful. We start to get a firmer sense of “Booker type” novels, leading to a sense of exhaustion with some of the winners. More importantly, the sense that many of those “Booker type” novels come from the pens of a certain “Booker type” author (white, middle class, overwhelmingly male) can no longer be ignored.

Disgrace is told from the perspective of David Lurie, a divorced literature professor at a university in post-Apartheid Cape Town. The first half of the novel details Lurie’s life as an aging academic and Byron obsessive, satisfying himself with weekly visits to prostitutes. He loses everything following his pursuit and eventual rape of a young female student, and subsequent refusal to co-operate with an enquiry that seems designed to protect him.

Amsterdam is a short novel focusing on two old and extremely posh friends: Vernon Halliday, newspaper editor of the tabloidy fabrication The Judge, and Clive Linley, who is a very very serious composer. They meet at the funeral of Molly Lane, and are among at least four of her former lovers at said event. We don’t learn an awful lot about Lane, beyond the fact that she entertained a lot of men, and died of an unspecified madness-inducing illness. Vernon and Clive make a pact to “help each other out” if they ever find themselves in a similar state of mental deterioration, which sets in motion a series of highly improbable events in the name of, I guess, “satire.”

The God of Small Things is the story of two non-identical twins, Rahel and Estha, in Ayemenem, a village in the Kerala region of India. The non-linear narrative flits between the build up to a tragic incident in their youth, involving a visit from England of their cousin Sophie, and their return to their village as adults in 1993.

Last Orders follows a motley crew of friends and near-relatives of the recently passed-away Jack Dodds, a Bermondsey butcher’s shop owner. They’re tasked by Jack’s widow Amy with scattering his ashes in Margate. Amy herself isn’t attending, for reasons that are explored in flashback as the novel unfolds, alongside the crew’s somewhat ramshackle journey out of London and through Kent, filled with arguments, detours, pubs, and reflections on life, death and relationships.

The Ghost Road is the final part of a trilogy, crucially one of which I haven’t read the first two parts (more on that later.) The Regeneration Trilogy is set predominantly during World War 1, and blends historical characters including war poets Siegfried Sassoon, Wilfred Owen and Robert Graves, with fictional characters including the central character Billy Prior, a working-class officer created to parallel and contrast with the poets.

How Late it Was, How Late covers the aftermath of a “lost weekend” for 38-year-old ex-convict Sammy. It’s a stream-of-consciousness inner monologue in which we find Sammy learning to cope with sudden blindness, seemingly induced by a police beating. He remembers nothing of the previous two days’ drinking binge, and has seemingly been left by his partner Helen, following a fight which kicked off the weekend’s events.

Paddy Clarke Ha Ha Ha is a short novel told entirely in the voice of a 10-year old child in late 1960s Barrytown. Patrick is, to all intents and purposes, an ordinary child, and through his words (all dialogue and stream of consciousness interior monologue) we’re introduced to his friends, teachers, parents and close sibling, Sinbad / Francis. There’s relatively little structure to the novel, instead it’s a series of vignettes - almost short stories in themselves, typically showing a small insight into Patrick’s life as he learns more about himself and the world around him.

Sacred Hunger is a 620-page epic centred around the a slave ship, the Liverpool Merchant, in the 1750 and 60s. The ship is owned by the Kemp family, with the younger Erasmus Kemp one of its principle players. His cousin, against whom Erasmus bears a childhood grudge, Matthew Paris, has recently been released from a prison sentence for spreading proto-Darwinist propaganda, a crime which also inadvertently led to the death of his wife Ruth. He elects to join the crew of the Merchant as ship’s doctor, as a form of penitence and attempt to escape from his former life, much to the chagrin of the vessels’ terrifying commander, Captain Thurso.

The English Patient tells the story of four very different individuals who find themselves living together in abandoned villa in Northern Italy in the final months of World War II. Hana, a young Canadian nurse, has stayed behind at the villa (previously used as an improvised hospital) to care for the badly burned titular “English Patient,” who is also suffering from amnesia.

The Famished Road is the first part of a trilogy (with Songs of Enchantment (1993) and Infinite Riches (1998)) following a “spirit-child” (or abiku) living in Africa (most likely Nigeria) named Azaro (a shortening of Lazarus.) The long, dream-like and poetic novel explores Azaro’s connection to a world of magical and often grotesque spirits, ingrained in the traditions of his culture, as well as his relationship with his parents, struggling in poverty in a rat-infested room in a compound controlled by an unpleasant landlord.

Possession: A Romance (to give it’s full original title) is all sorts of things at once. It’s a detective story, it’s at least two love stories, it’s an incredibly literary and self-referential piece of metafiction, it’s a compendium of (masterful) imitations of various forms of Victorian writing, the list goes on… Ultimately, the heart of the story centres around the discovery of some letters by a modern-day academic, Roland Michell. These letters are the first “clue” in a trail that uncovers a previously undocumented romance between two fictional Victorian poets.

After the Seventies saw the Booker taking its tentative first steps, stumbling here and there, occasionally landing on a genuine classic but more often than not serving up curiosities rather than solid-gold genius, we venture into more solid ground in the Eighties.

There’s a sense here of more self-awareness, of the need for winners to feel “important” and make a statement of some kind. There are certainly more hits than misses, and even the latter are perhaps in some ways more interesting than those of the previous decade.

The Remains of the Day focuses on Stevens, an experienced butler at the top of his trade, but coming towards his twilight years, and in the employ of a newly-arrived American businessman following years of dedicated service to the aristocratic Lord Darlington. The first-person narrative is located in the 1950s, with Stevens in charge of much-reduced staff from his glory days, and beginning to notice small errors in his previously perfectionist work. He accepts his employer’s offer of a break, for the purposes of which he borrows his car and heads off on a tour of the South West of England, part of which will involve a visit to an old colleague, Miss Kenton.

Oscar and Lucinda describes the lives of two very different characters whose lives become intertwined when they meet on a long sea journey to Australia in the mid nineteenth century and discover a shared passion for the (then illicit) world of gambling. Oscar Hopkins is a devout Christian, from an evangelical background with a memorably fanatical father, who converts to Anglicanism, which while relatively moderate, still is very much unable to tolerate his increasing addiction to the card table and racecourse. Lucinda Laplastrier is an Australian orphan and heiress who ploughs her fortune into a glass factory. When their paths cross, a mutual love develops between the unlikely pair, but despite them ending up cohabiting, it remains tragically unspoken.