I absolutley loved Life After Life. It's so brilliant and existential, and I really responded to all of the 'what ifs' and 'if onlys' that she plays with.

Atkinson’s juggling a lot at once — and nimbly succeeds in keeping the novel from becoming confusing.

For the other extraordinary thing is that, despite the horrors, this is a warm and humane book. This is partly because the felt sense of life is so powerful and immediate. Whatever the setting, it has been thoroughly imagined. Most of the characters are agreeable. They speak well and often wittily. When, like Ursula’s eldest brother, Maurice, they are not likeable, they are treated in the spirit of comedy. The humour is rich. Once you have adapted yourself to the novel’s daring structure and accepted its premise that life is full of unexplored possibilities, the individual passages offer a succession of delights. A family saga? Yes, but a wonderful and rewarding variation on a familiar form.

This is, without doubt, Atkinson’s best novel since her prizewinning debut, Behind the Scenes at the Museum, and a serious step forwards to realising her ambition to write a contemporary version of Laurence Sterne’s Tristram Shandy. A ferociously clever writer, she has recast her interest in mothers and daughters and the seemingly unimportant, quotidian details of life to produce a big, bold novel that is enthralling, entertaining and experimental. It is not perfect – the second half of the book, for example, could have done with one less dead end – but I would be astonished if it does not carry off at least one major prize.

Aficionados of Kate Atkinson's novels – this is the eighth – will tell you that she writes two sorts: the "literary" kind, exemplified by her Whitbread Prize-winning debut Behind the Scenes at the Museum, and the Jackson Brodie crime thrillers. In reality, the distinction is superfluous. Atkinson is a literary writer who likes experimenting with different forms, and her books appeal to a huge audience, full stop. However, for those still keen on these discriminations, Life After Life is one of the "literary" ones. As with the Brodies, Atkinson steers with a light touch, despite the grimness of the subject matter...The novels of Kate Atkinson habitually shuffle past and present, but Life After Life takes the shuffling to such extremes that the reader has to hold on to his hat. It's more than a storytelling device. Ursula and her therapist discuss theories of time. He tells her that it is circular, but she claims that it's a palimpsest. The writer has a further purpose. Elsewhere, Atkinson is quoted as saying: "I'm very interested in the moral path, doing the right thing." It's impossible not to be sympathetic toward Ursula, who yearns to save the people she loves and has been blessed – or cursed – with the ability to do it.