"Stronger Than Skin" by Stephen May

Stephen May’s new novel “Stronger Than Skin” is an absolute belter and continues his ongoing theme of obsession with the male psyche. The plot grabs you by the throat from the outset and is relentless in its intensity. May is a master of first person narration, and he gives his protagonist Mark Chadwick an authentic voice which is both engaging and beautifully constructed.

May’s second novel “Life, Death, Prizes” was much lauded, sweeping all before it as it scooped up a nomination for the Costa prize. His third novel “Wake Up Happy Every Day” was less commercially successful, despite a strong premise and a great line in self-deprecating humour. “Stronger Than Skin” is a far more satisfying read, with a great cast of characters, and a sweeping visual sensibility that probably owes much to May’s experiences as a screenwriter.

At the outset of the novel Mark Chadwick’s carefully constructed life takes a sudden left turn, and May deftly plots out a twin storyline as the reader slowly learns the parallels between the toxic relationship from his past and the domesticated order of his current life. May slowly teases out clues, drawing the reader into Chadwick’s intricately fashioned and convoluted world.

I particularly enjoyed the depth of characterisation within the novel. Even the minor characters are sharply delineated. When Chadwick meets an overly self-confident ex-pupil May gives his protagonist the telling line “I’m not a big fan of certainty. I don’t trust it.” I smiled for the rest of the chapter. 

Like much of May’s work “Stronger Than Skin” defies simple categorisation. It is a carefully constructed high-wire act, balancing a psychological thriller with a romantic character study. Yet it works brilliantly, and May delivers it with his trademark wit and charm. Comparisons with Nick Hornby and David Nicholls are probably inevitable, but to my mind they are simply lazy reviewing. May has a better ear for dialogue than either of them, and he pulls no punches when it comes to emotional impact. He also doesn’t over-write, so whilst the ending satisfactorily resolves the main plot threads, not everything is neatly parcelled into a pat conclusion. I have a feeling May would approve of a suspended chord at the end of a song, much like The Who’s “Pinball Wizard”. Stephen May compared with Pete Townshend – I think he’d approve of that too.