Frances Howard has beauty and a powerful family – and is the most unhappy creature in the world.
Anne Turner has wit and talent – but no stage on which to display them. Little stands between her and the abyss of destitution.
When these two very different women meet in the strangest of circumstances, a powerful friendship is sparked. Frankie sweeps Anne into a world of splendour that exceeds all she imagined: a Court whose foreign king is a stranger to his own subjects; where ancient families fight for power, and where the sovereign’s favourite may rise and rise – so long as he remains in favour.
With the marriage of their talents, Anne and Frankie enter this extravagant, savage hunting ground, seeking a little happiness for themselves. But as they gain notice, they also gain enemies; what began as a search for love and safety leads to desperate acts that could cost them everything.
Based on the true scandal that rocked the court of James I, A Net for Small Fishes is the most gripping novel you’ll read this year: an exhilarating dive into the pitch-dark waters of the Jacobean court.
“This is the first time we are seeing… a conversation about defunding, and some people having a conversation about abolishing the police and prison state. This must be what it felt like when people were talking about abolishing slavery.” – Patrisse Cullors, Black Lives Matter.
Abolishing the Police (An Illustrated Introduction) is both a contribution to this conversation and an invitation to join it. It provides rigorous and accessible analyses of why we might want to abolish the police, what abolishing them would involve, and how it might be achieved, introducing readers to the rich existing traditions of anti-police theory and practice.
Its authors draw on their diverse on-the-ground experiences of political organising, protest, and resistance to policing in the UK, France, Germany, and the United States, as well as their original research in academic fields ranging from law to security studies, political theory to sociology to public health.
Without assuming any prior specialist knowledge, they present the critical tools and insights these disciplines have to offer to ongoing struggles against the injustices of policing (and consider, in turn, what these disciplines must learn from these struggles.)
Alice and the North is a sequence of prose poems that form a love-song to the North, its post-industrial landscapes, wild uplands, obsession with weather, seasonal change and awkwardness. Like Lewis Carroll’s Alice before her, the lead character shifts and changes as her journey across the North continues; she is at turns playful, sexy, rebellious and adventurous, carving a new identity for the region as she goes.
From herring quines to the hidden corners of Manchester, from Lytham St Anne’s to the canals of Congleton, readers are invited to grow up with Alice as she finds her voice – straddling the territory between prose and poetry, exploring the down to earth cadences of everyday speech and the richness of the North’s many idioms and dialects.
Alice even finds time to gently tease the ‘titans’ of Northern poetry, Ted Hughes and Simon Armitage, whose voices have long shaped the poetry-reading public’s idea of the North. Now, however, they must step aside and make room for Alice.
This first anthology of ‘Apocalyptic’ or neo-romantic poetry since the nineteen-forties includes over 150 poets, many well known (Dylan Thomas, W.S. Graham), and others quite forgotten (Ernest Frost, Paul Potts). Over forty of the poets are women, of whom Edith Sitwell is among the most exuberant. Much of the contents has never previously been anthologised; many poems are reprinted for the first time since the 1940s. The poetry of the Second World War appears in a new context, as do early Tomlisnon and Hill. Here readers can enjoy an overview of the visionary-modernist British and Irish poetry of the mid-century, its antecedents and its aftermath. As a period style and as a body of work, Apocalyptic poetry will come as a revelation to most readers.
John Anthony Burgess Wilson (1917-93) was an industrious writer. He published over fifty books, thousands of essays and numerous drafts and fragments survive. He predicted many of the struggles and challenges of his own and the following century.
Burgess’s most famous book is A Clockwork Orange (1962), later adapted into a controversial film by Stanley Kubrick. The linguistic innovations of that novel, the strict formal devices used to contain them, and its range of themes are all to be found too in Burgess’s poetry, an area of his work where he was at once most free and most experimental. His flair for words, formal discipline, experimentalism, and fondness for variousness mark every page.
From a sapient pig to human extinction, syphilis to broken bones, a woman who births rabbits to changelings in the crib, this collection explores the full range of human fallibility as well as the eternal quest for hopefulness.
Cures is filled with strange characters: volcanic women, a rat catcher on the brink of retirement, a bonesetter, a drunkard, a mermaid; the collection is brimful with both the uncanny and the familiar, exploring the joys of parenthood, the folly of dissipation and reflecting on lives lived – mixing words in search of a tonic.
In 1974, Stormbringer was a pivotal album for Deep Purple. The second one made by the Mk3 lineup of Ritchie Blackmore, Jon Lord, Ian Paice, Glenn Hughes and David Coverdale, it was ultimately the album that would see Blackmore call it a day with Deep Purple until the Mk2 line-up reformed in 1984. Blending a range of styles across heavy rock, funk and soul, Stormbringer is a very unique Deep Purple album and there is a lot to be said about the story behind it.
In this book, music author Laura Shenton MA LLCM DipRSL offers an in depth perspective on Stormbringer from a range of angles including how the album came to be, how it was presented and received at the time (live as well as on record), and what it means in terms of Deep Purple’s legacy today. As the author explains: “Basically, the book covers how the album was made, what was going on with the music in terms of the artist’s intentions, how it did musically and commercially and what happened next.” The narrative is essentially driven by contemporary interviews with the artists with small bits of music theory where relevant… in some cases they delve into the structure / key signatures / time signatures, based on the original sheet music without straying away from being an engaging read for non-musicians.
Reese nearly had it all: a loving relationship with Amy, an apartment in New York, a job she didn’t hate. She’d scraped together a life previous generations of trans women could only dream of; the only thing missing was a child.
Then everything fell apart and three years on Reese is still in self-destruct mode, avoiding her loneliness by sleeping with married men. When her ex calls to ask if she wants to be a mother, Reese finds herself intrigued. After being attacked in the street, Amy de-transitioned to become Ames, changed jobs and, thinking he was infertile, started an affair with his boss Katrina.
Now Katrina’s pregnant. Could the three of them form an unconventional family – and raise the baby together?
Luísa from Nothing, born Matilde Boshoff in 1911, is the last living heiress of Nothing, a vast estate in the wine countryside north of the Portuguese capital. Without heirs of her own, the only way to save Nothing from the nothingness of disappearance is to accept living. In anonymous company, Luísa tells the story of Nothing and the paradox of a place name that nullifies existence. Luísa is also a non-existence, with a name she never took but in which she has lived from birth.
Going back to the early 19th century when Nothing was created out of the chaos of the Napoleonic Invasions, Luísa traces the story of her family and its intersection with Portuguese and world history in a place where oddities and unpronounceable possibilities were always as natural occurrences as ghosts and werewolves. After a life of losses and brushes with the unfathomable, Luísa realises Nothing is her own eternal self.
Tesya has reasons to feel hopeful after leaving her last job, where she was subjected to a series of anonymous hate crimes. Now she is back home in London to start a new lecturing position, and has begun an exciting, if tumultuous, love affair with the enigmatic Holly. But this idyllic new start quickly sours. Tesya finds herself victimized again at work by an unknown assailant, who subjects her to an insidious, sustained race hate crime. As her paranoia mounts, Tesya finds herself yearning for the most elemental desires: love, acceptance, and sanctuary. Her assailant, meanwhile, is recording his manifesto, and plotting his next steps.
Inspired by the author’s personal experiences of hate crime and bookended with essays which contextualise the story within a lifetime of microaggressions, Lessons in Love and Other Crimes is a heart-breaking, hopeful, and compulsively readable novel about the most quotidian of crimes.
A national treasure’s journey to the brink and back. ‘Will I wake up?’ ‘There’s a 50:50 chance.’Michael Rosen wasn’t feeling well. Soon he was struggling to breathe, and then he was admitted to hospital, suffering from coronavirus as the nation teetered on the edge of a global pandemic.
What followed was months on the wards: six weeks in an induced coma, and many more weeks of rehab and recovery as the NHS saved Michael’s life, and then got him back on his feet. Throughout Michael’s stay in intensive care, a notebook lay at the end of his bed, where the nurses who cared for him wrote letters of hope and support. Embarking on the long road to recovery, Michael was soon ready to start writing about his near-death experience.
Combining stunning new prose poems by one of Britain’s best loved poets and the moving coronavirus diaries of his nurses, doctors and wife Emma-Louise Williams, this is a beautiful book about love, life and the NHS. Featuring original illustrations by Chris Riddell, each page celebrates the power of community, the importance of kind gestures in dark times, and the indomitable spirits of the people who keep us well.
Mysticism is history. Chinna de Kock has awoken to the fact that she cannot override the virus mutating at warp speed inside her. Traumatised by events in her Cambridge lab, she has stopped eating and speaking, but her calculations allow her to feel, map and assess her way forwards. With her estranged mother Elektra riding out the pandemic in Bali, these mathematical incantations are her only hope for survival.
Enter Jill Purce, a cult ’70s documentary maker who Chinna, from her grandmother’s bed in Sumatra, watches fervently. Chinna is enamoured: by Jill and her belief in the vitality of change, and by the piercing gaze of her son, Chinna’s professor Merlin, whose vision of fungi as flesh, life as polyphony, has turned viral.
Exuberant and unforgettable, Nada Holland takes the reader beyond easy stoicism and into more puzzling terrain. Uncovering the mysteries that bring together East and West, future and past, and mother and daughter, Motherborn is a celebration of our emergent and entangled life on earth.
Backstage at the Lyceum in London, Tracey Thorn and Lindy Morrison first met. Tracey’s music career was just beginning, while Lindy, drummer for The Go-Betweens, was ten years her senior. They became confidantes, comrades and best friends, a relationship cemented by gossip and feminism, books and gigs and rock ‘n’ roll love affairs.
Morrison – a headstrong heroine blazing her way through a male-dominated industry – came to be a kind of mentor to Thorn. They shared the joy and the struggle of being women in a band, trying to outwit and face down a chauvinist music media. In My Rock ‘n’ Roll Friend Thorn takes stock of thirty-seven years of friendship, teasing out the details of connection and affection between two women who seem to be either complete opposites or mirror images of each other.
This important book asks what people see, who does the looking, and ultimately who writes women out of – and back into – history.
MacGregor is desperate to return home. Unfortunately, he’s marooned in the Gulf of Darién, following independent Scotland’s doomed colonisation attempt at the end of the 17th century. Worse still, he’s a character in a novel whose author is dying, and he’s running out of time.
As the author’s preoccupations, memories and spiralling thoughts start to pollute MacGregor’s world, he finds his narrative eroding and his escape routes blocked. Desperately clinging to hope, MacGregor is determined to keep his Creator writing long enough to deliver him home. But will he be able to drive the story to its end before his Creator reaches theirs?
“Youth is a dream, a form of chemical madness.” – F. Scott Fitzgerald
It’s 1941, the last summer of American innocence, and eighteen-year-old Lillie Carrigan is desperate to love and be loved, to lose her virginity, to experience her life’s great, epic romance. Preoccupied with whiskey and cigarettes, sex and Catholic guilt, Lillie unknowingly sets in motion events leading to death and estrangement from her two best friends.
A decade on, Lillie is still haunted by the ghosts of that summer. Did she act solely out of youthful naivety and adolescent jealousy? Or perhaps there were darker forces at work: grief, guilt, sexual assault, and the double standards of her strict religious upbringing. Searching for patterns and meaning in the events of that year, and anxious to understand the person she has become, Lillie reflects on the darkness of her tarnished youth and confesses her sins.
THE SUNDAY TIMES NUMBER ONE BESTSELLING WORLDWIDE PHENOMENON A RICHARD & JUDY, BETWEEN THE COVERS AND GOOD MORNING AMERICA BOOK CLUB PICKWINNER OF THE GOODREADS CHOICE AWARD FOR FICTION
‘BEAUTIFUL’ Jodi Picoult, ‘UPLIFTING’
‘BRILLIANT’ Daily Mail
‘AMAZING’ Joanna Cannon
‘ABSORBING’ New York Times
Nora’s life has been going from bad to worse. Then at the stroke of midnight on her last day on earth she finds herself transported to a library. There she is given the chance to undo her regrets and try out each of the other lives she might have lived.
Which raises the ultimate question: with infinite choices, what is the best way to live?
England, May 1536. Anne Boleyn is dead, decapitated in the space of a heartbeat by a hired French executioner.
As her remains are bundled into oblivion, Thomas Cromwell breakfasts with the victors. The blacksmith’s son from Putney emerges from the spring’s bloodbath to continue his climb to power and wealth, while his formidable master, Henry VIII, settles to short-lived happiness with his third queen, Jane Seymour. Cromwell is a man with only his wits to rely on; he has no great family to back him, no private army.
Despite rebellion at home, traitors plotting abroad and the threat of invasion testing Henry’s regime to breaking point, Cromwell’s robust imagination sees a new country in the mirror of the future. But can a nation, or a person, shed the past like a skin? Do the dead continually unbury themselves? What will you do, the Spanish ambassador asks Cromwell, when the king turns on you, as sooner or later he turns on everyone close to him? With The Mirror and the Light, Hilary Mantel brings to a triumphant close the trilogy she began with Wolf Hall and Bring Up the Bodies. She traces the final years of Thomas Cromwell, the boy from nowhere who climbs to the heights of power, offering a defining portrait of predator and prey, of a ferocious contest between present and past, between royal will and a common man’s vision: of a modern nation making itself through conflict, passion and courage.
The Ormering Tide is a coming of age story set amidst a series of darkly foreboding events. Rozel lives with her triplet older brothers and her parents in the bay of a small island. One of her brothers goes missing and the family’s landlord, Mr Willow, is implicated as the menacing truths are discovered. The island is rich with nature; and the islanders’ lives and the steady passing of the seasons contrast sharply with the realities of violence and inevitable revelations. The Ormering Tide explores the inherent human need to keep – and bury – secrets.
Kathryn Williams’ first novel, The Ormering Tide, is about processing the past, after the fact. This is a brooding and astonishing debut from the Mercury Music Prize nominated singer-songwriter.
The Ormering Tide shines as brightly as the beautiful shell from which this novel draws its title and is as impressive and adventurous as the author’s music.
This Selected celebrates Scotland’s most distinctive contemporary writer, a vivid minimalist, ruralist, and experimentalist. His poems most often are first published by Moschatel Press, which Clark and his wife, the artist Laurie Clark, set up in 1973. Here presentation is an aspect of form. Some poems appear in sequences, some feature singly and some are as short as a single line. The poems are verbally memorable, but also visually so. The longer poems are built up out of such precisions, extended, connected. Ballad and folk song are never far away.
THE FIRST BOOK IN THE #1 BESTSELLING THURSDAY MURDER CLUB SERIES BY TV PRESENTER RICHARD OSMAN
In a peaceful retirement village, four unlikely friends meet up once a week to investigate unsolved murders. But when a brutal killing takes place on their very doorstep, the Thursday Murder Club find themselves in the middle of their first live case.
Elizabeth, Joyce, Ibrahim and Ron might be pushing eighty but they still have a few tricks up their sleeves. Can our unorthodox but brilliant gang catch the killer before it’s too late?
THE SUNDAY TIMES TOP BESTSELLER#1 NEW YORK TIMES BESTSELLERSHORTLISTED FOR THE WOMEN’S PRIZELONGLISTED FOR THE ORWELL PRIZE
‘An utterly mesmerising novel..I absolutely loved this book’ Bernardine Evaristo, winner of the Booker Prize 2019
‘Epic’ Kiley Reid, O, The Oprah Magazine
The Vignes twin sisters will always be identical. But after growing up together in a small, southern black community and running away at age sixteen, it’s not just the shape of their daily lives that is different as adults, it’s everything: their families, their communities, their racial identities. Ten years later, one sister lives with her black daughter in the same southern town she once tried to escape.
The other secretly passes for white, and her white husband knows nothing of her past. Still, even separated by so many miles and just as many lies, the fates of the twins remain intertwined. What will happen to the next generation, when their own daughters’ story lines intersect?Weaving together multiple strands and generations of this family, from the Deep South to California, from the 1950s to the 1990s, Brit Bennett produces a story that is at once a riveting, emotional family story and a brilliant exploration of the American history of passing.
Looking well beyond issues of race, The Vanishing Half considers the lasting influence of the past as it shapes a person’s decisions, desires, and expectations, and explores some of the multiple reasons and realms in which people sometimes feel pulled to live as something other than their origins.
Two schoolgirls in Bolton take acid just before their English class. A film journalist shares tea and a KitKat with Marcel Proust, more or less, during a long train journey. An afterparty turns into a crime scene. Colleagues, maybe in love, have lunch and don’t quite talk about their relationship. A woman flees to New Orleans and finds unexpected treasures there.
In her electric debut, Anna Wood skips through the decades of a woman’s life, meeting friends, lovers, shapeshifters and doppelgangers along the way. Pleasures and regrets pile up, time becomes non-linear, characters stumble and shimmy through moments of rupture, horror and joy. Written with warmth, wit and swagger, these stories glide from acutely observed comic dialogue to giddy surrealism and quiet heartbreak, and always there is music – pop songs as tiny portals into another world. Yes Yes More More is packed with friendship, memory, sexuality, love, and the radical possibilities of pleasure.