In this larky autofiction, the ups and downs of creative life are cartoonishly dramatised as the writer becomes an action hero

Rob Doyle’s previous novel, Threshold, took the form of a blackly comic travelogue narrated by an Irish writer named Rob. In one episode before Rob becomes an author, we see him as a sexually pent-up teacher abroad, masturbating over an essay he’s marking. That the scene is an echo of one in Michel Houellebecq’s Atomised (once named by Doyle as the best book from the past 40 years) hardly lessens our discomfort, and it’s hard not to feel that our unease is precisely the point. “Frankly, a lot of my life has been disastrous,” he once told an interviewer – which might not be quite as self-deprecating as it sounds, given that Doyle has also argued that “great literature” is born of “abjection” not “glory”.

The autofictional game-playing continues in his new novel, Cameo, but instead of self-abasing display, we get a perky book-world send-up for the culture war era, cartoonishly dramatising the ups and downs of creative life. It takes the form of a vertiginous hall of mirrors centred on gazillion-selling Dublin novelist Ren Duka, renowned for a long novel cycle drawn on his own life, the summaries of which comprise the bulk of the book we’re reading. Duka’s work isn’t autofiction à la Knausgård: hardly deskbound, still less under the yoke of domesticity, he leads a jet-set life of peril, mixing with drug dealers, terrorists, spies, and eventually serving time for tax evasion before he develops a crack habit, a penchant for threesomes in Paris and – perhaps least likely of all – returns to his long-forsaken Catholicism.