But it’s what she leaves unsaid—she’s alone, a drinker, a former artist, a shrieker in bed, captain of the sinking ship that is her flesh—that feels the most true. Everyone around her seems to have an entirely different idea of what it means to be an adult: her best friend, Indigo, is getting married; her brother—who miraculously seems unscathed by their shared tumultuous childhood—and sister-in-law are having a hoped-for baby; and her friend Matthew continues to wholly devote himself to making dark paintings at the cost of being flat broke. But when Andrea’s niece finally arrives, born with a heartbreaking ailment, the Bern family is forced to reexamine what really matters. Will this drive them together or tear them apart? Told in gut-wrenchingly honest, mordantly comic vignettes, All Grown Up is a breathtaking display of Jami Attenberg’s power as a storyteller, a whip-smart examination of one woman’s life, lived entirely on her own terms.

    Thatcher's policies have put husbands and sons out of work, and the city's notorious drugs epidemic is waiting in the wings. Shuggie's mother Agnes walks a wayward path: she is Shuggie's guiding light but a burden for him and his siblings. She dreams of a house with its own front door while she flicks through the pages of the Freemans catalogue, ordering a little happiness on credit, anything to brighten up her grey life. Married to a philandering taxi-driver husband, Agnes keeps her pride by looking good--her beehive, make-up, and pearly-white false teeth offer a glamourous image of a Glaswegian Elizabeth Taylor. But under the surface, Agnes finds increasing solace in drink, and she drains away the lion's share of each week's benefits--all the family has to live on--on cans of extra-strong lager hidden in handbags and poured into tea mugs. Agnes's older children find their own ways to get a safe distance from their mother, abandoning Shuggie to care for her as she swings between alcoholic binges and sobriety. Shuggie is meanwhile struggling to somehow become the normal boy he desperately longs to be, but everyone has realized that he is "no right," a boy with a secret that all but him can see. Agnes is supportive of her son, but her addiction has the power to eclipse everyone close to her--even her beloved Shuggie.A heartbreaking story of addiction, sexuality, and love, Shuggie Bain is an epic portrayal of a working-class family that is rarely seen in fiction. Recalling the work of Edouard Louis, Alan Hollinghurst, Frank McCourt, and Hanya Yanagihara, it is a blistering debut by a brilliant novelist who has a powerful and important story to tell.

    The novel centres upon the hapless members of a love triangle united by their sexual obsessions and by their fascination with Catherine Tekakwitha, the 17th-century Mohawk saint. By turns vulgar, rhapsodic, and viciously witty, Beautiful Losers explores each character’s attainment of a state of self-abandonment, in which the sensualist cannot be distinguished from the saint.

    This extraordinary life meanders through a rich, complicated, bittersweet world. The discoveries of childhood give way to the thousand pangs of adolescence, culminating in the sudden shocking news of an accident abroad. And as adulthood begins, indecisively, boundaries are crossed between countries, languages and people . . .

    Spanning three centuries, the novel opens as Orlando, a young nobleman in Elizabeth's England, awaits a visit from the Queen and traces his experience with first love as England under James I lies locked in the embrace of the Great Frost. At the midpoint of the novel, Orlando, now an ambassador in Constantinople, awakes to find that he is now a woman, and the novel indulges in farce and irony to consider the roles of women in the 18th and 19th centuries. As the novel ends in 1928, a year consonant with full suffrage for women. Orlando, now a wife and mother, stands poised at the brink of a future that holds new hope and promise for women.

    Twice a day the Persian slave trader came in and taught her to be a whore. Otherwise there was nothing. One day she found a pencil stub and scrap of paper in a forgotten corner of the room. She began to write down her life, starting with "Parents stink" (her father, who is also her boyfriend, has fallen in love with another woman and is about to leave her). With Blood and Guts in High School, Kathy Acker, whose work has been labeled everything from post-punk porn to post-punk feminism, has created a brilliantly subversive narrative built from conversation, description, conjecture, and moments snatched from history and literature.~ groveatlantic.com

    Aubyn's wonderful, wry, and profound Patrick Melrose Cycle, follows five-year-old Patrick through a single day, as the Melrose family awaits the arrival of guests. Bright and imaginative, young Patrick struggles daily to contend with the searing cruelty of his father and the resignation of his embattled mother. But on this day he must endure an unprecedented horror—one that splits his world in two. In Never Mind, St. Aubyn renders this vivid tragedy with profound grace and precision, and introduces us to the unforgettable, complex figure of Patrick Melrose.

    The Soho that Precious and Tabitha live and work in is barely recognisable anymore. And now, the building they call their home is under threat; its billionaire-owner Agatha wants to kick the women out to build expensive restaurants and luxury flats. Men like Robert, who visit the brothel, will have to go elsewhere. The collection of vagabonds and strays in the basement will have to find somewhere else to live. But the women are not going to go quietly. They have plans to make things difficult for Agatha but she isn't taking no for an answer.Hot Stew is an insightful and ambitious novel about property, ownership, wealth and inheritance. It is about the place we occupy in society, especially women, and the importance placed on class and money. It doesn't shy away from asking difficult questions but does so with humour and intelligence.

    Not so much a stream of consciousness, as an unconscious railing against a life that makes little sense, and a shocking and intimate insight into the thoughts, feelings and chaotic sexuality of a vulnerable and isolated protagonist. To read A Girl Is A Half-Formed Thing is to plunge inside its narrator's head, experiencing her world first-hand. This isn't always comfortable - but it is always a revelation.Touching on everything from family violence to sexuality and the personal struggle to remain intact in times of intense trauma, McBride writes with singular intensity, acute sensitivity and mordant wit. A Girl is a Half-formed Thing is moving, funny – and alarming. It is a book you will never forget.

    Through monologues, emails, and text exchanges, she brilliantly weaves together the coming of age of five distinct characters: a woman who’s “gone off sausage” (men); her brother, in a secret affair with a powerful married man; a lesbian couple confronting an important transition; and the troubled young woman who forces them all to face their fears. With vibrant imagery and daring prose, Korneliussen writes honestly about finding yourself and growing into the person you were meant to be. Praised for creating “its own genre” (Politiken, Denmark), Last Night in Nuuk is a brave entrance onto the literary scene and establishes her as a voice that cannot be ignored.

    Duncan loves Annie, but then, all of a sudden, he doesn’t. Duncan really loves Tucker Crowe, a reclusive Dylanish singer-songwriter who stopped making music ten years ago. Annie stops loving Duncan, and starts getting her own life.In doing so, she initiates an e-mail correspondence with Tucker, and a connection is forged between two lonely people who are looking for more out of what they’ve got. Tucker’s been languishing (and he’s unnervingly aware of it), living in rural Pennsylvania with what he sees as his one hope for redemption amid a life of emotional and artistic ruin—his young son, Jackson. But then there’s also the new material he’s about to release to the world: an acoustic, stripped-down version of his greatest album, Juliet—entitled, Juliet, Naked.What happens when a washed-up musician looks for another chance? And miles away, a restless, childless woman looks for a change? Juliet, Naked is a powerfully engrossing, humblingly humorous novel about music, love, loneliness, and the struggle to live up to one’s promise.

    Bret Easton Ellis trains his incisive gaze on the kids at self-consciously bohemian Camden College and treats their sexual posturings and agonies with a mixture of acrid hilarity and compassion while exposing the moral vacuum at the center of their lives. The Rules of Attraction is a poignant, hilarious take on the death of romance.

    The nation, seething with religious and political discontent, has erupted into violence and terror. Jacob Cullen and his fellow soldiers dream of rebuilding their lives when the fighting is over. But the shattering events of war will overtake them. A darkly erotic tale of passion and obsession, As Meat Loves Salt is a gripping portrait of England beset by war. It is also a moving portrait of a man on the brink of madness. Hailed as a masterpiece, this is a novel by a most original new voice in fiction.

    Since then, she's written eight more, three of which have been short-listed for England's prestigious Booker Prize, and one of which, Offshore, won. Now she's back with her tenth and best book so far, The Blue Flower. This is the story of Friedrich von Hardenberg--Fritz, to his intimates--a young man of the late 18th century who is destined to become one of Germany's great romantic poets. In just over 200 pages, Fitzgerald creates a complete world of family, friends and lovers, but also an exhilarating evocation of the romantic era in all its political turmoil, intellectual voracity, and moral ambiguity. A profound exploration of genius, The Blue Flower is also a charming, wry, and witty look at domestic life. Fritz's family--his eccentric father and high-strung mother; his loving sister, Sidonie; and brothers Erasmus, Karl, and the preternaturally intelligent baby of the family, referred to always as the Bernhard--are limned in deft, sure strokes, and it is in his interactions with them that the ephemeral quality of genius becomes most tangible. Even his unlikely love affair with young Sophie von Kühn makes perfect sense as Penelope Fitzgerald imagines it. The Blue Flower is a magical book--funny, sad, and deeply moving. In Fritz Fitzgerald has discovered a perfect character through whom to explore the meaning of love, poetry, life, and loss. In The Blue Flower readers will find a work of fine prose, fierce intelligence, and perceptive characterization.

    He is grounded by loneliness and an unwillingness to compromise his creature comforts when he meets Muriel, a deliciously peculiar dog-obedience trainer who up-ends Macon’s insular world and thrusts him headlong into a remarkable engagement with life.