But can they truly leave the city that's in their bones?Kate Tempest's novel reaches back through time--through tensely quiet dining rooms and crassly loud clubs--to the first time Becky and Harry meet. It sprawls through their lives and those they touch--of their families and friends and faces on the street--revealing intimacies and the moments that make them. And it captures the contemporary struggle of urban life, of young people seeking jobs or juggling jobs, harboring ambitions and making compromises.The Bricks that Built the Houses is an unexpected love story. It's about being young, but being part of something old. It's about how we become ourselves, and how we effect our futures. Rich in character and restless in perspective, driven by ethics and empathy, it asks--and seeks to answer--how best to live with and love one another.Kate Tempest, a major talent in the poetry and music worlds, sits poised to become a major novelist as well.

    In this bestselling classic novel which became a famous film, Jane Graham, alone and pregnant, retreats to a dingy attic bedsit in Fulham where she finds unexpected companionship, happiness and love.Set in the late 1950s, the 27 year-old unmarried Jane Graham arrives alone at a run-down boarding house in London after being turned out of her comfortable middle class home by her shocked father who has learned she is pregnant.Jane narrates the story as we follow her through her pregnancy and her encounters with the other misfits and outsiders who reside at the boarding house.

    But the more Jean investigates, the more her life becomes strangely (and not unpleasantly) intertwined with that of the Tilburys: Gretchen is now a friend, and her quirky and charming daughter Margaret a sort of surrogate child. And Jean doesn't mean to fall in love with Gretchen's husband, Howard, but Howard surprises her with his dry wit, his intelligence and his kindness — and when she does fall, she falls hard.But he is married, and to her friend — who is also the subject of the story she is researching for the newspaper, a story that increasingly seems to be causing dark ripples across all their lives. And yet Jean cannot bring herself to discard the chance of finally having a taste of happiness...But there will be a price to pay, and it will be unbearable.

    As the boom years of the eighties unfold, Nick, an innocent in the world of politics and money, finds his life altered by the rising fortunes of this glamorous family. His two vividly contrasting love affairs, one with a young black clerk and one with a Lebanese millionaire, dramatize the dangers and rewards of his own private pursuit of beauty, a pursuit as compelling to Nick as the desire for power and riches among his friends.Richly textured, emotionally charged, disarmingly comic, this U.K. bestseller is a major work by one of our finest writers.

    Meet Martin, JJ, Jess, and Maureen. Four people who come together on New Year's Eve: a former TV talk show host, a musician, a teenage girl, and a mother. Three are British, one is American. They encounter one another on the roof of Topper's House, a London destination famous as the last stop for those ready to end their lives. In four distinct and riveting first-person voices, Nick Hornby tells a story of four individuals confronting the limits of choice, circumstance, and their own mortality. This is a tale of connections made and missed, punishing regrets, and the grace of second chances. Intense, hilarious, provocative, and moving, A Long Way Down is a novel about suicide that is, surprisingly, full of life. What's your jumping-off point? MaureenWhy is it the biggest sin of all? All your life you're told that you'll be going to this marvelous place when you pass on. And the one thing you can do to get you there a bit quicker is something that stops you getting there at all. Oh, I can see that it's a kind of queue-jumping. But if someone jumps the queue at the post office, people tut. Or sometimes they say "Excuse me, I was here first." They don't say "You will be consumed by hellfire for all eternity." That would be a bit strong. MartinI'd spent the previous couple of months looking up suicides on the Internet, just out of curiosity. And nearly every single time, the coroner says the same thing: "He took his own life while the balance of his mind was disturbed." And then you read the story about the poor bastard: His wife was sleeping with his best friend, he'd lost his job, his daughter had been killed in a road accident some months before . . . Hello, Mr. Coroner? I'm sorry, but there's no disturbed mental balance here, my friend. I'd say he got it just right. JessI was at a party downstairs. It was a shit party, full of all these ancient crusties sitting on the floor drinking cider and smoking huge spliffs and listening to weirdo space-out reggae. At midnight, one of them clapped sarcastically, and a couple of others laughed, and that was it-Happy New Year to you, too. You could have turned up to that party as the happiest person in London, and you'd still have wanted to jump off the roof by five past twelve. And I wasn't the happiest person in London anyway. Obviously. JJNew Year's Eve was a night for sentimental losers. It was my own stupid fault. Of course there'd be a low-rent crowd up there. I should have picked a classier date-like March 28, when Virginia Woolf took her walk into the river, or November 25 (Nick Drake). If anybody had been on the roof on either of those nights, the chances are they would have been like-minded souls, rather than hopeless f*ck-ups who had somehow persuaded themselves that the end of a calendar year is in any way significant.

    The next morning her world is shattered. Forced to leave the comfortable home of her childhood, she is sent to London to live with relatives she never met: Aunt Margaret, beautiful and speechless, and her brothers, Francie, whose graceful music belies his clumsy nature, and the volatile Finn, who kisses Melanie in the ruins of the pleasure garden. And brooding Uncle Philip loves only the life-sized wooden puppets he creates in his toyshops. The classic gothic novel established Angela Carter as one of our most imaginative writers and augurs the themes of her later creative works. "Beneath its contemporary surface, this novel shimmers with blurred echoes—from Lewis Carroll, from 'Giselle' and 'Coppelia,' Harlequin and Punch… It leave behind it a flavor, pungent and unsettling" —The New York Times Book Review

    Within a week, she has moved into the magnetic architect’s echoing loft in East London. But nothing could have prepared Lily for what she finds there. The distinct presence of another woman lingers in the loft, one who seems to have disappeared in a hurry, leaving behind a single party dress, a puzzling mark on the wall, and the suffocating scent of jasmine. Lily’s unsettling curiosity soon turns to obsession as the spirit of this mysterious woman increasingly haunts her. With a nod to Daphne du Maurier’s classic novel Rebecca, My Lover’s Lover is a sexy, modern gothic tale that will keep readers hooked until the very end.

    Belonging to neither land nor sea, they cling to one another in a motley yet kindly society. There is Maurice, by occupation a male prostitute, by happenstance a receiver of stolen goods. And Richard, a buttoned-up ex-navy man whose boat dominates the Reach. Then there is Nenna, a faithful but abandoned wife, the diffident mother of two young girls running wild on the waterfront streets.It is Nenna’s domestic predicament that, as it deepens, draws the relations among this scrubby community together into ever more complex and comic patterns.An alternative cover edition for this ISBN can be found here

    Bradley hopes to retire to the country, but predatory friends and relations dash his hopes of a peaceful retirement. He is tormented by his melancholic sister, who has decided to come live with him; his ex-wife, who has infuriating hopes of redeeming the past; her delinquent brother, who wants money and emotional confrontations; and Bradley's friend and rival, Arnold Baffin, a younger, deplorably more successful author of commercial fiction. The ever-mounting action includes marital cross-purposes, seduction, suicide, abduction, romantic idylls, murder, and due process of law. Bradley tries to escape from it all but fails, leading to a violent climax, and a coda that casts shifting perspectives on all that has preceded.

    In private houses and public parks, at work and at play, these Londoners inhabit a complicated place, as beautiful as it is brutal, where the thoroughfares hide the back alleys and taking the high road can sometimes lead you to a dead end. Depicting the modern urban zone—familiar to city-dwellers everywhere—NW is a quietly devastating novel of encounters, mercurial and vital, like the city itself.

    There’s a village sixty miles outside London. It’s no different from many other villages in England: one pub, one church, red-brick cottages, council cottages and a few bigger houses dotted about. Voices rise up, as they might do anywhere, speaking of loving and needing and working and dying and walking the dogs.This village belongs to the people who live in it and to the people who lived in it hundreds of years ago. It belongs to England’s mysterious past and its confounding present. But it also belongs to Dead Papa Toothwort, a figure schoolchildren used to draw green and leafy, choked by tendrils growing out of his mouth. Dead Papa Toothwort is awake. He is listening to this twenty-first-century village, to his English symphony. He is listening, intently, for a mischievous, enchanting boy whose parents have recently made the village their home. Lanny.

    After a chance encounter she befriends the Gillespie family and soon becomes a fixture in all of their lives. But when tragedy strikes - leading to a notorious criminal trial - the promise and certainties of this world all too rapidly disorientate into mystery and deception.Featuring a memorable cast of characters, infused with atmosphere and period detail, and shot through with wicked humour, Gillespie and I is a tour de force from one of the emerging names of British fiction.

    As a gift for his translator's sister, a Beatles fanatic who will be his host, Saul's girlfriend will shoot a photograph of him standing in the crosswalk on Abbey Road, an homage to the famous album cover. As he waits for her to arrive, he is grazed by an oncoming car, which changes the trajectory of his life.The Man Who Saw Everything is about the difficulty of seeing ourselves and others clearly. It greets the specters that come back to haunt old and new love, previous and current incarnations of Europe, conscious and unconscious transgressions, and real and imagined betrayals, while investigating the cyclic nature of history and its reinvention by people in power. Here, Levy traverses the vast reaches of the human imagination while artfully blurring sexual and political binaries-feminine and masculine,

    Sophia is twenty-one years old, carries a newt -- Great Warty -- around in her pocket and marries -- in haste -- a young artist called Charles. Swept into bohemian London of the thirties, Sophia is ill-equipped to cope. Poverty, babies (however much loved) and her husband conspire to torment her. Hoping to add some spice to her life, Sophia takes up with the dismal, ageing art critic, Peregrine, and learns to repent her marriage -- and her affair -- at leisure. But in this case virtue is more than its own reward, for repentance brings an abrupt end to a life of unpaid bills, unsold pictures and unwashed crockery ...

    He is the curate sent by the bishop to assist Father Angwin-or is he? In the most unlikely of places, a superstitious town that understands little of romance or sentimentality, where bad blood between neighbors is ancient and impenetrable, miracles begin to bloom. No matter how copiously Father Angwin drinks while he confesses his broken faith, the level of the bottle does not drop. Although Fludd does not appear to be eating, the food on his plate disappears. Fludd becomes lover, gravedigger, and savior, transforming his dull office into a golden regency of decision, unashamed sensation, and unprecedented action. Knitting together the miraculous and the mundane, the dreadful and the ludicrous, Fludd is a tale of alchemy and transformation told with astonishing art, insight, humor, and wit.