|Dimensions||190 × 140 × 20 mm|
Henningham Family Press
“Friday’s children would be fattening like seals across the sand, on their way to class. Black liquorice teeth. Loving and giving under the whalefeed of the clouds. He had to teach.”
Friday 17th June 1904. Stephen Dedalus wakes up in a Dublin Martello tower, hungover but with winnings in the pocket of his borrowed trousers. Dedalus goes about his day. Settling scores and debts. Pursued by the ghosts of his mother, Hamlet, and now a man called Leopold Bloom who has woken up with plans for him. The young poet weaves hopes and ideas into burning wings of ambition. Can he elude death in the passages of books?
McCabe’s iconoclastic tribute to James Joyce’s masterpiece gives right-of-reply to his self-portrait, Stephen Dedalus. Stephen and Bloom, cut from Joyce’s ego, become cultural types pasted into Digital Age storytelling.
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Hair Everywhere is the story of one family and how they manage to cope when the mother is diagnosed with cancer. It is a delicate tale that balances itself between the generations, revealing their strengths and weaknesses in times of trouble. It is also a story about how roles within a family can change when things become challenging, due to sickness or death, allowing some to grow and others to fade. Ultimately, this is a book about life; full of humour and absurdity as well as sadness, and set against an everyday background where the ordinary takes on new significance and colour. Tea Tulic’s debut novel is a brave glance at the human condition.
Byron and the Beauty is loosely based on Byron’s biography and takes place during two weeks of October 1809, during his now famous sojourn in the Balkans. Besides being a great love story, this is also a novel about East and West, about Europe and the Balkans, about travel and friendship and cruelty. Bazdulj marvellously combines facts with imagination, history and romance, resulting in an exceptionally beautiful novel. The author’s style has something of the subtle lyricism and chronicle-like tranquillity of his countryman Ivo Andric, but also a touch of the oriental baroque richness associated with Orhan Pamuk, making this a book which is both erudite and innovative, with a daring sense of humour.
The City Always Wins is a remarkable novel from the psychological heart of a revolution. From the communal highs of pitched night battles against the police in Cairo to the solitary lows of defeated exile in New York, Omar Robert Hamilton’s debut is a unique immersion into one of the key chapters of the 21st century.
Bringing to life the 2011 Egyptian revolution, The City Always Wins conveys with extraordinary intensity all the stages of that place and that time through the lives of its two main characters Mariam and Khalil, ordinary young people caught up in an extraordinary moment.
Furthermore, The City Always Wins is a novel not just about Egypt’s revolution but about a global generation that tried to change the world.
Reminiscent of the writing of Jeet Thayil, Zia Haider Rahma and Nadeem Aslam, Hamilton’s prose is arrestingly visual, intensely lyrical and uncompromisingly political. A genuinely exciting new writer, he looks set to become a defining voice of his generation.
Gabriela Babnik’s novel Dry Season breaks the mould of what we usually expect from a writer from a small, Central European nation. With a global perspective, Babnik takes on the themes of racism, the role of women in modern society and the loneliness of the human condition. Dry Season is a record of an unusual love affair. Anna is a 62-year-old designer from Slovenia and Ismael is a 27-year-old from Burkina Faso who was brought up on the street, where he was often the victim of abuse. What unites them is the loneliness of their bodies, a tragic childhood and the dry hamartan season, during which neither nature nor love is able to flourish. She soon realizes that the emptiness between them is not really caused by their skin colour and age difference, but predominantly by her belonging to the Western culture in which she has lost or abandoned all the preordained roles of daughter, wife and mother. Sex does not outstrip the loneliness and repressed secrets from the past surface into a world she sees as much crueller and, at the same time, more innocent than her own. Cleverly written as an alternating narrative of both sides in the relationship, the novel is interlaced with magic realism.