Broken bowls, belligerent cows, swanky aubergines, trembling moonrises and horrifying sunsets, the physical world depicted in these stories is unsettling yet intimately familiar and soon takes on a life of its own. Captivated by the stellar charms of seclusion but restless with desire, the woman’s relationship with her surroundings becomes boundless and increasingly bewildering. Claire-Louise Bennett’s startlingly original first collection slips effortlessly between worlds and is by turns darkly funny and deeply moving.

    Their father, a Ted Hughes scholar and scruffy romantic, imagines a future of well-meaning visitors and emptiness.In this moment of despair they are visited by Crow - antagonist, trickster, healer, babysitter. This self-described sentimental bird is attracted to the grieving family and threatens to stay until they no longer need him. As weeks turn to months and physical pain of loss gives way to memories, this little unit of three begin to heal.In this extraordinary debut - part novella, part polyphonic fable, part essay on grief, Max Porter's compassion and bravura style combine to dazzling effect. Full of unexpected humour and profound emotional truth, Grief is the Thing with Feathers marks the arrival of a thrilling new talent.

    Kate is in the middle of a two week quarantine period, but she just can't take it anymore - the closeness of the air in her small house, the confinement. And anyway, the moor will be deserted at this time. Nobody need ever know.But Kate's neighbour Alice sees her leaving and Matt, Kate's son, soon realizes she's missing. And Kate, who planned only a quick solitary walk - a breath of open air - falls and badly injures herself. What began as a furtive walk has turned into a mountain rescue operation . . . Unbearably suspenseful, witty and wise, The Fell asks probing questions about the place the world has become since March 2020, and the place it was before. Sarah Moss's novel is a story about compassion and kindness and what we must do to survive, and it will move you to tears.

    Though her own circumstances remain indistinct, she becomes the audience to a chain of narratives, as the people she meets tell her one after another the stories of their lives.Beginning with the neighbouring passenger on the flight out and his tales of fast boats and failed marriages, the storytellers talk of their loves and ambitions and pains, their anxieties, their perceptions and daily lives. In the stifling heat and noise of the city the sequence of voice begins to weave a complex human tapestry. The more they talk the more elliptical their listener becomes, as she shapes and directs their accounts until certain themes begin to emerge: the experience of loss, the nature of family life, the difficulty of intimacy and the mystery of creativity itself.Outline is a novel about writing and talking, about self-effacement and self-expression, about the desire to create and the human art of self-portraiture in which that desire finds its universal form.

    Be civil in a hostile environment. Go to college, get an education, start a career. Do all the right things. Buy an apartment. Buy art. Buy a sort of happiness. But above all, keep your head down. Keep quiet. And keep going.The narrator of Assembly is a black British woman. She is preparing to attend a lavish garden party at her boyfriend’s family estate, set deep in the English countryside. At the same time, she is considering the carefully assembled pieces of herself. As the minutes tick down and the future beckons, she can’t escape the question: is it time to take it all apart?Assembly is a story about the stories we live within – those of race and class, safety and freedom, winners and losers.And it is about one woman daring to take control of her own story, even at the cost of her life. With a steely, unfaltering gaze, Natasha Brown dismantles the mythology of whiteness, lining up the debris in a neat row and walking away.

    For almost all of those years she has been the clandestine lover to Paul Sheringham, young heir of a neighboring house. The two now meet on an unseasonably warm March day—Mothering Sunday—a day that will change Jane's life forever. As the narrative moves back and forth from 1924 to the end of the century, what we know and understand about Jane—about the way she loves, thinks, feels, sees, remembers—expands with every vividly captured moment. Her story is one of profound self-discovery, and through her, Graham Swift has created an emotionally soaring, deeply affecting work of fiction.

    Johanna Morrigan, fourteen, has shamed herself so badly on local TV that she decides that there’s no point in being Johanna anymore and reinvents herself as Dolly Wilde—fast-talking, hard-drinking Gothic hero and full-time Lady Sex Adventurer. She will save her poverty-stricken Bohemian family by becoming a writer—like Jo in Little Women, or the Bröntes—but without the dying young bit.By sixteen, she’s smoking cigarettes, getting drunk and working for a music paper. She’s writing pornographic letters to rock-stars, having all the kinds of sex with all kinds of men, and eviscerating bands in reviews of 600 words or less.But what happens when Johanna realizes she’s built Dolly with a fatal flaw? Is a box full of records, a wall full of posters, and a head full of paperbacks, enough to build a girl after all?Imagine The Bell Jar written by Rizzo from Grease. How to Build a Girl is a funny, poignant, and heartbreakingly evocative story of self-discovery and invention, as only Caitlin Moran could tell it.

    When the Queen in pursuit of her wandering corgis stumbles upon a mobile library she feels duty bound to borrow a book. Aided by Norman, a young man from the palace kitchen who frequents the library, the Queen is transformed as she discovers the liberating pleasures of the written word.The author of the Tony Award winner The History Boys, Alan Bennett is one of Britain’s best-loved literary voices. With The Uncommon Reader, he brings us a playful homage to the written word, imagining a world in which literature becomes a subversive bridge between powerbrokers and commoners. By turns cheeky and charming, the novella features the Queen herself as its protagonist. When her yapping corgis lead her to a mobile library, Her Majesty develops a new obsession with reading. She finds herself devouring works by a tantalizing range of authors, from the Brontë sisters to Jean Genet. With a young member of the palace kitchen staff guiding her choices, it’s not long before the Queen begins to develop a new perspective on the world - one that alarms her closest advisers and tempts her to make bold new decisions. Brimming with the mischievous wit that has garnered acclaim for Bennett on both sides of the Atlantic, The Uncommon Reader is a delightful celebration of books and writers, and the readers who sustain them.

    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.

    In Bookforum, James Greer called it ambitious in a way few works of fiction are. This summer it is being republished in an all-new Harper Perennial trade paperback, significantly revised by the author, and including an extensive P.S. section including never before published outtakes, an interview with the author, and a new essay by Zambreno.Zambreno's heroine, Ruth, is a young American in London, kin to Jean Seberg gamines and contemporary celebutantes, by day spritzing perfume at the department store she calls Horrids, by night trying desperately to navigate a world colored by the unwanted gaze of others and the uncertainty of her own self-regard. Ruth, the green girl, joins the canon of young people existing in that important, frightening, and exhilarating period of drift and anxiety between youth and adulthood, and her story is told through the eyes of one of the most surprising and unforgettable narrators in recent fiction—a voice at once distanced and maternal, indulgent yet blackly funny. And the result is a piercing yet humane meditation on alienation, consumerism, the city, self-awareness, and desire, by a novelist who has been compared with Jean Rhys, Virginia Woolf, and Elfriede Jelinek.

    It is in this space, surrounded by countryside and wild creatures, that she can finally grapple with the chain of events that led her here-her shaky mental health, her difficult time in art school-and maybe, just maybe, regain her footing in art and life. As Frankie picks up photography once more, closely examining the natural world around her, she reconsiders seminal works of art and their relevance. With "prose that makes sure we look and listen," Sara Baume has written an elegant novel that is as much an exploration of wildness, the art world, mental illness, and community as it is a profoundly beautiful and powerful meditation on life.

    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,

    He provides him with fatherly career advice (always carry a knife, for example) and is determined they should share the joys of pit bulls (fed with lots of Tabasco sauce), Internet porn, and all manner of more serious criminality. Des, on the other hand, desires nothing more than books to read and a girl to love (and to protect a family secret that could be the death of him). But just as he begins to lead a gentler, healthier life, his uncle—once again in a London prison—wins £140 million in the lottery and upon his release hires a public relations firm and begins dating a cannily ambitious topless model and “poet.”  Strangely, however, Lionel's true nature remains uncompromised while his problems, and therefore also Desmond's, seem only to multiply.

    A missing professor. Some nefarious men in gray suits. And a dreamworld called the Troposphere? Ariel Manto has a fascination with nineteenth-century scientists--especially Thomas Lumas and The End of Mr. Y, a book no one alive has read. When she mysteriously uncovers a copy at a used bookstore, Ariel is launched into an adventure of science and faith, consciousness and death, space and time, and everything in between. Seeking answers, Ariel follows in Mr. Y’s footsteps: She swallows a tincture, stares into a black dot, and is transported into the Troposphere--a wonderland where she can travel through time and space using the thoughts of others. There she begins to understand all the mysteries surrounding the book, herself, and the universe. Or is it all just a hallucination?

    Gretel, a lexicographer by trade, knows this better than most. She grew up on a houseboat with her mother, wandering the canals of Oxford and speaking a private language of their own invention. Her mother disappeared when Gretel was a teen, abandoning her to foster care, and Gretel has tried to move on, spending her days updating dictionary entries.One phone call from her mother is all it takes for the past to come rushing back. To find her, Gretel will have to recover buried memories of her final, fateful winter on the canals. A runaway boy had found community and shelter with them, and all three were haunted by their past and stalked by an ominous creature lurking in the canal: the bonak. Everything and nothing at once, the bonak was Gretel’s name for the thing she feared most. And now that she’s searching for her mother, she’ll have to face it.