A while ago I got an email from a reader. She had enjoyed my novel, Beside Myself, she told me. But she particularly wanted to congratulate me on not having put a writer in it, this authorial habit being one of her pet hates.

Her message got me thinking. Stories featuring storytellers are pretty common. They’re also fairly universal. From Vladimir Nabokov’s Pale Fire to Stephen King’s Misery, and from One Thousand and One Nights to Alice Munro’s ‘Family Furnishings’, the international literary landscape is thronged with imaginary wordsmiths. And, unfortunately for my correspondent, many of us seem to enjoy reading about them.

I suspect this is because where there are writers you usually find readers (or listeners) too. There can be few more satisfying things than recognising something in a book you are reading. Whether it’s an observation about an experience you have gone through or a truism about a particular sort of person or situation you know well, that flash of connection when a writer captures something you have long felt is a joy.

As a result, books that feature readers have a head start because they automatically contain subject matter that has the potential to resonate with every person who picks them up. This is a double-edged sword, however, because the sheer volume of literary works containing readers and writers means that any new contribution has to do something special to stand out.

At first glance, it seems that bestselling Dutch writer Herman Koch’s Dear Mr M, which hinges on the real-life and fictional accounts of the mysterious death of a school teacher several decades previously, may be a competent yet unremarkable addition to the genre. A number of familiar tropes and characters greet us in the opening chapters – the sinister fan with ‘certain plans’ for the object of his attentions, the jaded, ageing, white male author fearful that his greatest work is behind him, the suggestion that certain fictional events may bear more than a passing resemblance to real life.

Yet, as the pages turn, this literary novel in thriller’s clothing opens out like an umbrella, becoming something much more elaborate and impressive than its beginnings promise. Far from reading a neat and compulsive – yet ultimately familiar – account of the working through of a literary obsession, we find ourselves in the grip of a story that questions not only its own framework but the foundations of storymaking itself.

Looking and watching sit at the novel’s heart. Koch turns these themes around to explore their many angles using the ingenious device of having one of the central characters film various key events and then play them back at different points. The result is that we read several scenes from diverse perspectives, discovering how certain details recede or become accentuated depending on who is looking and why.

Although dark in tone, the book is not without playfulness. The jibes at the Amsterdam book-club scene (there is a particularly excellent sequence in a library, where Mr M is invited to do a reading and we are let in on his gripes about everything from the librarian’s haircut to the dog-haired blanket in the car that will drive him home) are as hilarious as they are daring. Similarly, numerous misanthropic observations about many of the lesser characters recall the delicious, if somewhat jaundiced, humour of recently translated Dutch classic The Evenings.

The complexity and sophistication of the narrative’s construction – it switches perspective and timeframes frequently – means that this is a more demanding read than its marketing might imply. Those wishing to be swept along by a comfortable whodunnit should opt for something else. It’s also the kind of book that repays lengthy reading sessions rather than brief dips in and out. There are so many threads that it’s easy to get in a tangle if you don’t keep a firm grip.

But for those with the time and energy, this story will more than reward the effort. Smart, stylish and beautifully controlled, this is one of those rare books that at once offers a great story and moves its genre forward.

Dear Mr M (Geachte heer M.) by Herman Koch, translated from the Dutch by Sam Garrett (Picador, 2016)

Picture: ‘Diamond 530 NS4‘ by *Physalis on flickr.com