Mariam was 12 years old when a relative sold her into a marriage with a 40-year-old soldier in the Taliban, who was already married. She was repeatedly sexually and physically assaulted. By the time she was 19, she had four children. Mariam’s story is not unusual; her four sisters each had similar experiences, as have countless other Afghan women. I know this all too well—I was born in Afghanistan during the Taliban’s first regime, and left the country when the United States withdrew its troops in 2021. I have friends who still live there. (Mariam is not a real name; like many of the women I spoke with for this story, this person asked me to protect her identity for fear of retribution.)

The events of recent years have been a terrible form of whiplash. After the 2001 U.S.-led invasion overthrew the Taliban and a democratic government was established, new women’s-rights advocacy groups proliferated. With their help, Mariam was eventually able to leave the marriage. Millions of other Afghan women experienced new freedoms in those years. The government reopened the schools and universities for women. Under the new constitution, women were guaranteed the right to work, vote, and participate in public life. The Ministry of Women was created to protect these rights. Now, though, Mariam is once again living under a Taliban regime, this time with even more oppressive rules. “Every morning we are waking up with a new Taliban rule limiting us in every way they could; rules for our body, hair, education, and now our voices,” Mariam told me. “If the Taliban continues, Afghanistan will soon become a graveyard for women and young girls, and the world will just watch.”

[Ian Fritz: What I learned while eavesdropping on the Taliban]

The question Mariam and other Afghan women are now asking is whether the international community will come to their aid once again. In August, the Taliban issued a 114-page, 35-article set of restrictive laws, approved by their supreme leader, Hibatullah Akhundzada. The document takes many basic freedoms away from the country’s women, prohibiting them from singing publicly or looking at men other than their husband and relatives, and requiring them to cover their bodies and faces in public. Many of these restrictions have been enforced since the Taliban took control of the government in August 2021, but until now, they were not the official law.

For weeks, there was little sign that the international community would step in. But last month, in a historic move, Australia, Canada, Germany, and the Netherlands filed a case against the Taliban under the Convention on the Elimination of All Forms of Discrimination Against Women (CEDAW). This case will take the Taliban to the International Court of Justice, in The Hague. It is the first time that a group of countries has taken another nation to the ICJ for CEDAW violations. The Taliban now has six months to respond to the complaint. For the Afghan women I spoke with, the new case is an important step toward justice. “This is great progress to end gender apartheid and persecution,” said Muhiba Ruzbehan, 46, who lived under the first Taliban regime and now works in medicine in London. Many of them consider the mere filing of the lawsuit an achievement, but what they want is a favorable ruling from the International Court of Justice. Until then, a lawsuit is just a lot of paper.

For many who lived during the Taliban’s first regime, the newly instated laws are frightening flashbacks to the brutal rules of the late ’90s. Back then, Ruzbehan served as a doctor’s assistant in a Taliban military hospital. She saw women whose hands had been cut off, brought in for treatment by Taliban commanders proud of their abuse. She saw women who had been flogged and seriously injured for merely speaking with a man. She saw bodies of women who had been stoned to death for adultery. “I am deeply heartbroken and disappointed to see the Taliban’s second term is even more radical compared to their first regime,” she told me.

[From the September 2022 issue: I smuggled my laptop past the Taliban so I could write this story]

Younger women who don’t remember the earlier regime are now experiencing a constrained life they had long heard about from their mother and grandmothers. I spoke with Salehi, 27, who is from Badakhshan, the northeasternmost province of Afghanistan. When the Taliban banned women from certain kinds of work in December 2022, she lost her job as a data-entry clerk. Salehi was terrified by the Taliban’s new laws, and fearful of worse yet to come. “Dying is better for us rather than living with these limitations,” she told me.

Hamida, 28, is a women’s-rights advocate living in Kabul. She is not married, and lives on her own. She told me that the Taliban’s laws are making her life extremely hard. She fears that if the country’s leaders find out she has no husband, they will force her to marry, or send her back to her family in nearby Bamyan, which would mean the end of many things she hoped for and worked hard for.

Ever since the U.S. left the country in 2021, millions of Afghan women have felt abandoned by the international community. The Taliban’s laws have violated their basic human rights day in and day out. But the women I spoke with told me that although the Taliban has brought back the oppression of its first regime, not all is the same. They—the women—have changed. They attended school and experienced living under a democratic government. They know they have rights. The new case at the ICJ, they pray, is a sign that maybe, just maybe, the rest of the world knows this too.

Henry James is Alan Hollinghurst’s favorite writer, and in his native England, Hollinghurst, now 70, has over the years acquired a bit of Jamesian eminence himself. He even gets compared to the Master sometimes. That’s because of the sweep and density of his novels, which span more than a century of political and social change, and his exquisite understanding of the British class system. Readers also point to his beautiful, sonorous sentences. He’s often called the best living writer of English prose.

But Hollinghurst began as a sort of enfant terrible. In 1988, his first novel, The Swimming-Pool Library, was an overnight sensation, famous for two things: its stunning prose and the frequency and frankness of its gay sex scenes. The book’s narrator, a rich and idle young aristo named Will Beckwith, is mainly interested in old buildings and in cruising—especially for well-muscled, dark-skinned men. He describes his sex life with an avidity and an exactness that are almost poetic. Here, for example, is one of his many descriptions of male genitalia:

O the difference of man and man. Sometimes in the showers, which only epitomized and confirmed a general feeling held elsewhere, I was amazed and enlightened by the variety of the male organ. In the rank and file of men showering the cocks and balls took on the air almost of an independent species, exhibited in instructive contrasts. Here was the long, listless penis, there the curt, athletic knob or innocent rosebud of someone scarcely out of school.

Before Hollinghurst, few had written about gay sexuality so graphically, not even pornographers. There was more of the same in Hollinghurst’s next book, The Folding Star (1994), whose protagonist, a failed writer named Edward Manners working as a tutor in a Bruges-like Flemish city in the late 1980s, is also an enthusiastic cruiser and appraiser of penises. Lots more followed in the novel after that, The Spell (1998), a stylish but ultimately failed attempt at a comedy of manners about four men who mostly just drink too much, do some drugs, and tumble into bed with one another.

Hollinghurst’s fourth novel, The Line of Beauty (2004), is both a satire of British politics in the Thatcher era and a lament for lost innocence, national and personal. Considered by many people to be his masterpiece, it opens in 1983, when the Tories sweep the general election, and amid the excess and excitement of that period, it also touches on something only hinted at in the earlier books: the AIDS crisis. The protagonist is a young gay man, the aptly named Nick Guest, an outsider, middle-class and provincial, who’s fascinated by wealth and privilege. He becomes a lodger at the London townhouse of an influential but corrupt Tory member of Parliament, and from that vantage educates himself simultaneously about sex, class, and politics. An amusing early scene captures the spirit: Upon losing his virginity to a young Black man he meets up with in a private garden across the street from the MP’s house, he feels “as if the trees and bushes had rolled away and all the lights of London shone in on him: little Nick Guest from Barwick, Don and Dot Guest’s boy, fucking a stranger in a Notting Hill garden at night … It was so bad, and it was so much the best thing he had ever done.” The book was bold and ambitious, and also sufficiently racy that after being awarded the Booker Prize in 2004, it briefly became tabloid fodder. “Booker Won by Gay Sex” was the weird headline in the Daily Express, while The Daily Telegraph complained that the judges had been “seduced.”

For almost two decades at that point, Hollinghurst had seemed keen to make a point with his sexual explicitness: that although homosexual behavior had been criminalized for so long in Britain, gayness was a reality there, as everywhere, and that fiction should examine all of life, including sex, from a gay perspective as closely and honestly as it has portrayed life from a heterosexual one.

[Read: Tracing the internal queer revolution]

But none of his novels (with the exception of The Spell ) is only about being gay, any more than, say, John Updike’s Rabbit books are only about being heterosexual. And after The Line of Beauty, Hollinghurst may have felt that calling attention to sexual encounters, at least, had become less necessary. Since then, his novels have taken homosexuality pretty much for granted, and the sex has become comparatively scarce, and mostly not very graphic. The Sparsholt Affair (2017) even contains a funny, probably self-referential scene in which a character now in his 60s suddenly realizes that, except for his own and his husband’s, he hasn’t seen a penis in ages.

Hollinghurst’s cultural range—as his new novel, Our Evenings, again confirms—is enormous. Before he left to write full-time, he was the deputy editor of The Times Literary Supplement, and for a while he was also in charge of something called Nemo’s Almanac, a fiendishly difficult literary competition requiring contestants to identify obscure quotations from writers most people have never heard of. His novels are filled with allusions to books, poetry, music, art. Elaborate subplots in his first two also uncover a history of betrayals, political and cultural as well as personal, that are far more consequential than mere bedroom infidelities.

His formal range is unusual too. Both The Sparsholt Affair and The Stranger’s Child (2011) are narrative departures. Hollinghurst’s previous method had been something like full immersion—telling us everything, and then some. These two work by means of elision and ellipsis, unfolding in sections separated by roughly 20 years. Important events (dating back to World War I in one case, and World War II in the other) happen offstage; characters disappear and then reappear, much the way they do in Anthony Powell’s A Dance to the Music of Time, sometimes leaving the reader uncertain at first who these people are or what, exactly, is going on. Several chapters in Sparsholt are told from the point of view of a 7-year-old girl, and they add an element of What Maisie Knew to the story. Why all the fuss over this one little drawing? she wonders—a linchpin of the plot, if only she understood. She’s not alone in her puzzlement: Both novels revolve around a cipher of sorts, each of them a war hero who casts a shadow and serves as proof of how ungraspable the past can be and how it nevertheless infiltrates the present.

The core of both books—and Hollinghurst’s abiding preoccupation—is time, and what it does to everything. Buildings fall down; reputations sink. People age, in ways that novels seldom portray anymore. It’s shocking in Stranger’s Child, for example, to see one main character, so charming as a teenager, turn into a tipsy bag lady. Most of all, time obscures the truth. Hollinghurst’s fiction is underpinned by a fierce and exacting morality that does not spare characters trying to cover up or forget the sins of the past. Which they do: People in his pages misremember their own remembering; stories change, and sometimes the important ones aren’t told at all.

Our Evenings can’t be called a sequel to The Line of Beauty—it begins much earlier, back in the ’60s, and ends much later—but it revisits many of that book’s themes and preoccupations, political ones especially. The perspective, though, is longer and more chastened. The heady Thatcher era is ancient history, and in contemporary England, where the new novel winds up, all the fizz is gone.

The outsider this time is an actor named David Win, who, just like Nick Guest, has his nose pressed against the glass of the English class system. But, a decade or so older than Guest, he encounters a more closed world. He’s half Burmese, raised by a single mother in a provincial town—“a brown-faced bastard,” in a classmate’s phrase. In The Line of Beauty (and in almost all of Hollinghurst’s books, for that matter) dark skin makes a man especially desirable, but for Win, it’s mostly just a burden, another mark of outsiderness.

As a young teenager in the mid-’60s, Win is taken up by Mark Hadlow, a wealthy, left-leaning philanthropist whom the novel presses, a little unconvincingly, into representing all that’s good about the old moneyed classes. Win even becomes a kind of surrogate son, replacing Hadlow’s real offspring, a bully and a cheat who drifts ever rightward politically, eventually helping bring about Brexit. The publicity material for the novel promises an escalating rivalry between Win and Giles Hadlow, culminating in a “shock of violence,” but that’s not really what happens. Giles pops up periodically in Win’s life, usually as an annoyance, sometimes a comic one. The real damage Giles does is to the nation, not to his father’s protégé.

Told almost entirely in the first person by Win, Our Evenings for much of its nearly 500 pages is an old-fashioned coming-of-age story, lingering, in Hollinghurst’s impeccable prose, at all the traditional stops: seaside holidays, public school, Oxford exams, punting on the Cherwell, the first stirrings of gay sexual desire, an unrequited crush on a straight classmate. Win takes forever to emerge from the closet: flirtations, mixed signals, invitations never followed up on. The book is more than half over before Win finally goes to bed with someone—and he’s nothing like Nick Guest’s hunk, just a mousy civil servant.

Win and his mother, Avril—the best character in the book—broach sex and relationships the way English parents and children used to: practically never. When Avril moves in with a woman, resorting for a while to the pretense of separate bedrooms, this upheaval in their lives is barely mentioned. As for her life with Win’s father, she’s evasive, and Win seems determined to stay ignorant. At times, in fact, Our Evenings reads like a throwback, a novel from the pre-Hollinghurst era—as if the author, now older and wiser, were reminding both himself and his readers that sexual honesty is rarely won easily, and that true emotional intimacy is often elusive.

The book also has a complicated, somewhat rueful take on race. From the beginning, Win’s acting career is compromised by his brownness. An early adviser suggests that the teenage Win should just stick to radio. His subsequent apprenticeship is described in some detail, especially a funny stint in an experimental-theater troupe that specializes in mostly nude performances of the classics. By then—in the 1970s—there’s a suggestion that, in progressive circles at least, Win’s real handicap might be that he’s not dark enough: A Black member of the troupe quickly becomes a star in London and then in Hollywood. Mostly Win’s acting serves to supply the novel with a ready-made set of themes and imagery. As soon becomes obvious, lots of things in these pages take place just for show; hypocrisy reigns, and in one way or another, almost everyone is playing a part. Except for Win: Despite his profession, he, unlike Giles Hadlow, say—or his forerunner, Nick Guest—doesn’t fake a thing.

The title, Our Evenings, refers partly to a haunting piano piece by Leoš Janáček that Win hears during his schoolboy days, and partly to the companionable and unexpected late-life relationship he discovers with the Dickensian-named Richard Roughsedge. But the pronoun could also apply to England as a whole, whose twilit hours, the book suggests, are not as sexy as the old days and still not very advanced when it comes to prejudice against the “wogs.” As is so often true of Hollinghurst’s work, an autumnal element runs through the book, a Housman-like sense of belatedness, of better times gone by. The composer Ralph Vaughan Williams, that warhorse of English traditionalism, is mentioned six times, and his plangent music—invoking a lost, idyllic England; a greener, more pleasant land—could easily be the novel’s soundtrack.

Our Evenings is not Hollinghurst’s strongest book, but it may be his saddest, with its sense of what James called “muddlement” and of lives never quite fulfilled. Win’s mother is lonely and misunderstood throughout. Win himself has trouble making lasting connections, and his career, though it eventually earns him some small renown, is not all it could or should have been. Almost as if wearying of itself, the novel doesn’t so much end as just come to a stop, seemingly overwhelmed by the mess that contemporary Britain has become. Brexit, COVID, bloodshed in the streets—even Thatcher’s England was happier than this. By the final pages, you may find yourself wondering whether Hollinghurst’s sense of loss might extend to his own exhilarating early days, when in writing about gay life there were still boundaries to be broken.

This article appears in the November 2024 print edition with the headline “Alan Hollinghurst’s Lost England.” ​​​​

Donald Trump paid tribute to Corey Competore, the man slain during the 13 July attempt on his life.