She is headed for the Panopticon, a home for chronic young offenders. She can't remember what’s happened, but across town a policewoman lies in a coma and Anais’s school uniform is covered in blood.Raised in foster care from birth and moved through twenty-three placements before she even turned seven, Anais has been let down by just about every adult she has ever met. Now a counter-culture outlaw, she knows that she can only rely on herself. And yet despite the parade of horrors visited upon her early life, she greets the world with the witty, fierce insight of a survivor.Anais finds a sense of belonging among the residents of the Panopticon – they form intense bonds, and she soon becomes part of an ad hoc family. Together, they struggle against the adults that keep them confined. When she looks up at the watchtower that looms over the residents though, Anais knows her fate: she is an anonymous part of an experiment, and she always was. Now it seems that the experiment is closing in.Named one of the best books of the year by the Times Literary Supplement and the Scotsman, The Panopticon is an astonishingly haunting, remarkable debut novel. In language dazzling, energetic and pure, it introduces us to a heartbreaking young heroine and an incredibly assured and outstanding new voice in fiction.

    In this hidden city haunted by a host of vividly drawn characters, Rilke comes face to face with the dark desires and illicit urges that lurk behind even the most respectable facades.

    I sat in the crematorium, listening to my Uncle Hamish quietly snoring in harmont to bach's Mass in B Minor, and I reflected that it always seemed to be death that drew me back to Gallanach." Prentice McHoan has returned to the bosom of his complex but enduring Scottish family. Full of questions about the McHoan past, present and future, he is also deeply preoccupied: mainly with death, sex, drink, God and illegal substances...

    The problems of everyday living accumulate and begin to torture Joy, who blames her problems not on her work or on the accidental drowning of her illicit lover, but on herself. While painful and deeply serious, this is a novel of great warmth and energy: it's the wit and irony found in moments of despair that prove to be Joy's salvation. First published by Polygon in 1989 and Dalkey Archive Press in 1994, now available again.

    Four boys becoming men: Juice Terry, the work-shy fanny-merchant, with corkscrew curls and sticky fingers; Billy the boxer: driven, controlled, playing to his strengths; Carl, the Milky Bar Kid, drifting along to his own soundtrack; and the doomed Gally - who has one less skin than everyone else and seems to find catastrophe at every corner. As we follow their lives from the seventies into the new century - from punk to techno, from speed to Es - we can see each of them trying to struggle out from under the weight of the conditioning of class and culture, peer pressure and their parents' hopes that maybe their sons will do better than they did. What binds the four of them is the friendship formed by the scheme, their school, and their ambition to escape from both; their loyalty fused in street morality: back up your mates, don't hit women and, most importantly, never grass - on anyone. Despite its scale and ambition, Glue has all Irvine Welsh's usual pace and vigour, crackling dialogue, scabrous set-pieces and black, black humour, but it is also a grown-up book about growing up - about the way we live our lives, and what happens to us when things become unstuck.

    Nora, at first, recounts nothing that Effie really wants to hear--like who her real father was. Effie tells various versions of her life at college, where in fact she lives in a lethargic relationship with Bob, a student who never goes to lectures, seldom gets out of bed, and to whom Klingons are as real as Spaniards and Germans.But as mother and daughter spin their tales, strange things are happening around them. Is Effie being followed? Is someone killing the old people? And where is the mysterious yellow dog?In a brilliant comic narrative which explores the nonsensical power of language and meaning, Kate Atkinson has created another magical masterpiece.

    And, as practical as she is, Ruth doesn't know what to do. Or how to feel. Because knowing and loving Clio Campbell was never straightforward.To Neil, she was his great unrequited love. He'd known it since their days on picket lines as teenagers. Now she's a sentence in his email inbox: Remember me well.The media had loved her as a sexy young starlet, but laughed her off as a ranting spinster as she aged. But with news of her suicide, Clio Campbell is transformed into a posthumous heroine for politically chaotic times.Stretching over five decades, taking in the miners' strikes to Brexit and beyond; hopping between a tiny Scottish island, a Brixton anarchist squat, the bloody Genoa G8 protests, the poll tax riots and Top of the Pops, Scabby Queen is a portrait of a woman who refuses to compromise, told by her friends and lovers, enemies and fans.As word spreads of what Clio has done, half a century of memories, of pain and of joy are wrenched to the surface. Those who loved her, those who hated her, and those that felt both ways at once, are forced to ask one question: Who was Clio Campbell?

    Its playful narrative techniques convey a profound message, personal and political, about humankind's inability to love and yet our compulsion to go on trying.

    So when he first takes up meditation at the Buddhist Center, no one takes him seriously. But as Jimmy becomes more involved in a search for the spiritual, his beliefs start to come into conflict with the needs of his wife, Liz. Cracks appear in their apparently happy family life, and the ensuing events change the lives of each family member.

    Jonathan Safran Foer has called her writing “thrilling.” Jeanette Winterson has praised her for her “style, ideas, and punch.” Here, in a novel at once profound, playful, and exhilaratingly inventive, she transfixes us with a portrait of a family unraveled by a mysterious visitor.Amber—thirtysomething and barefoot—shows up at the door of the Norfolk cottage that the Smarts are renting for the summer. She talks her way in. She tells nothing but lies. She stays for dinner.Eve Smart, the author of a best-selling series of biographical reconstructions, thinks Amber is a student with whom her husband, Michael, is sleeping. Michael, an English professor, knows only that her car broke down. Daughter Astrid, age twelve, thinks she’s her mother’s friend. Son Magnus, age seventeen, thinks she’s an angel.As Amber insinuates herself into the family, the questions of who she is and how she’s come to be there drop away. Instead, dazzled by her seeming exoticism, the Smarts begin to examine the accidents of their lives through the searing lens of Amber’s perceptions. When Eve finally banishes her from the cottage, Amber disappears from their sight, but not—they discover when they return home to London—from their profoundly altered lives.Fearlessly intelligent and written with an irresistible blend of lyricism and whimsy, The Accidental is a tour de force of literary improvisation that explores the nature of truth, the role of chance, and the transformative power of storytelling.

    James Robertson's breathtaking novel is a portrait of modern Scotland as seen through the eyes of natives and immigrants, journalists and politicians, drop-outs and spooks, all trying to make their way through a country in the throes of great and rapid change. It is a moving, sweeping story of family, friendship, struggle and hope - epic in every sense.The winner of the Saltire Society Scottish Book of the Year Award 2010, And the Land Lay Still is a masterful insight into Scotland's history in the twentieth century and a moving, beautifully written novel of intertwined stories.

    With school over and the locked world of their fathers before them, they rush towards the climax of their youth: a magical weekend in Manchester, the epicentre of everything that inspires them in working-class Britain. There, against the greatest soundtrack ever recorded, a vow is made: to go at life differently. Thirty years on, half a life away, the phone rings. Tully has news.Mayflies is a memorial to youth's euphorias and to everyday tragedy. A tender goodbye to an old union, it discovers the joy and the costs of love.

    I was born part precious metal, part pirate."), an orphaned girl who is taken in by blind Mr. Pew, the mysterious and miraculously old keeper of a lighthouse on the Scottish coast. Pew tells Silver stories of Babel Dark, a nineteenth-century clergyman. Dark lived two lives: a public one mired in darkness and deceit and a private one bathed in the light of passionate love. For Silver, Dark's life becomes a map through her own darkness, into her own story, and, finally, into love.One of the most original and extraordinary writers of her generation, Jeanette Winterson has created a modern fable about the transformative power of storytelling.

    In both their cases, it was to be rock stars. Fifteen years later, their mid-thirties are bearing down fast, and just like everybody else, they're having to accept the less glamorous hands reality has dealt them. Nervous new father Ray takes refuge from his responsibilities by living a virtual existence in online games. People say he needs to grow up, but everybody has to find their own way of coping. For some it's affairs, for others it's the bottle, and for Simon it's serial murder, mass slaughter and professional assassination.

    There's Pat, a twenty-year-old who has recently moved into a flat with Bruce, an athletic young man with a keen awareness of his own appearance. Their neighbor, Domenica, is an eccentric and insightful widow. In the flat below are Irene and her appealing son Bertie, who is the victim of his mother’s desire for him to learn the saxophone and italian–all at the tender age of five.Love triangles, a lost painting, intriguing new friends, and an encounter with a famous Scottish crime writer are just a few of the ingredients that add to this delightful and witty portrait of Edinburgh society, which was first published as a serial in The Scotsman newspaper.