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£9.99Two people meet for lunch in a Manhattan restaurant. She’s an accomplished actress in rehearsals for an upcoming premiere. He’s attractive, troubling, young – young enough to be her son. Who is he to her, and who is she to him?
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Two people meet for lunch in a Manhattan restaurant. She’s an accomplished actress in rehearsals for an upcoming premiere. He’s attractive, troubling, young – young enough to be her son. Who is he to her, and who is she to him?

Olivia Greenwood has been trying very hard to please people for a very long time. But today is going to change Olivia in a big way. A soul-crushing career disappointment, a fiery young woman with a chip on her shoulder and a cigarette in her hand, and one single blue hallucinogenic gummy all lead to a raucous night out and one hell of a hangover. And when Olivia wakes up the next morning, it seems she’s unable to please anyone but HERSELF. So who actually is Olivia Greenwood, when she’s not trying to be what everyone else wants her to be?

On the run after an act of violence against the American government, twenty-five-year-old Jenny Shimada is drawn into caring for three younger fugitives. One of them, the kidnapped granddaughter of a San Francisco millionaire, has become a national celebrity for joining her captors’ revolutionary cell. Yet as Jenny and her charges pursue their destinies from an old farmhouse in upstate New York to California, isolation turns to paranoia and their radical ideals soon begin to fracture.


Annie is nine months pregnant. She’s shopping for a crib at IKEA. That’s when the massive earthquake hits. Propulsive, disruptive, funny, terrifying, ‘Tilt’ is a novel about how the foundations of our lives are built and shaken. About a woman trying to walk back to the husband she’s long been pushing away. About put-off dreams and inevitability and what makes us keep moving forward.

Oxfordshire, 1899. Grace Inderwick grows up on the peripheries of a once-great household, an unwanted guest in her uncle’s home. She has unusual skills and unusual predilections: for painting, though faces elude her; for lurking in the shadows; for other girls. Then a letter arrives, postmarked Saint Helena. After years missing at sea, Grace’s cousin Charles is ready to come home. When Charles returns, unrecognisable and uncanny, a rift emerges between those who claim he is an imposter and Grace’s aunt, who insists he is her son. And Grace, whose intimate knowledge of forgeries is her own closely-guarded secret, must decide who and what to believe in, and what kind of life she wants to live.

This is a 24-hour urban love story. It follows Stephen Connolly through one of the worst days of his life. On a stiflingly hot December day, he has decided it’s time to break up with his girlfriend Fiona. He’s 39, aimless and unfulfilled; he’s without a clue working out how to make his life better. As an ordinary day develops into an existential crisis, Stephen begins to understand, perhaps too late, that love is not a trap, and only he can free himself.

Meet Frankie, Miriam and Bronagh: three very different women from Belfast, but all mothers to 18-year-old boys. Gorgeous Frankie, now married to a wealthy, older man, grew up in care. Miriam has recently lost her beloved husband Kahlil in ambiguous circumstances. Bronagh, the CEO of a children’s services charity, loves celebrity and prestige. When their sons are accused of sexually assaulting a friend, Misty Johnston, they’ll come together to protect their children, leveraging all the powers they possess. But on her side, Misty has the formidable matriarch, Nan D, and her father, taxi-driver Boogie: an alliance not so easily dismissed.

A radical daughter. A closeted father. A prim mother turned protester. One runaway girl sets a family on fire – and lights the way to liberation. In the bleak winter of 1982, fifteen-year-old Bridget has had enough. Enough of Thatcher’s Britain, enough of being invisible, and enough of her family’s secrets. Armed with little more than a sharp tongue and a fierce sense of justice, she runs away from her suburban life to join the Greenham Common Women’s Peace Camp – one of the most iconic protest movements in British history. But Bridget’s disappearance doesn’t just blow open her own life. It sends shockwaves through her fractured family: her distant, conservative mother, who’s about to fall headlong into a love affair she never saw coming, and her father – a man with secrets of his own, who’s spent a lifetime hiding in plain sight. Set at the unlikely intersection of nuclear disarmament and personal awakening, FALLOUT is a fearless, dark

Desiree, Danielle, January, Monique, and Nakia are in their early twenties and at the beginning. Of their careers, of marriage, of motherhood, and of big-city lives in New York and Los Angeles. Together, they are finding their way through the wilderness, that period of life when the reality of contemporary adulthood-overwhelming, mysterious, and full of freedom and consequences-swoops in and stays.

Such a small but powerful and intense novel.
Fictionalised biography? Auto fiction? Essay on Art and artists in 20th Century Paris? This book takes many forms and they are all fascinating. Every sentence matters, you will not want to miss a single word, a single thought.
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Who was Gertrude Stein? Avant-garde American poet and art collector who made her home in Paris, godmother of modernism, queer icon, friend to Picasso and Hemingway, self-declared genius – a writer who has baffled readers and critics for a century. And why does she matter? The narrator of Deborah Levy’s novel has gone to Paris to find out. There she meets Eva with the blinding gaze, an artist in a long-distance marriage, and Fanny, a sexually adventurous financier; together they cook, walk, read and argue late into the nights. As Paris sweeps her along in its ceaseless flow, she thinks – about what we have to lose to become modern, navigating anxiety, living with uncertainty, angry fathers, making a new life in another country, art and language – how all these things looked to Gertrude Stein in the early days of the twentieth century, and how they look to her and her friends in the early twenty-first.

Sonia believes she knows what is going on in her daughter’s life – some days she is consumed by the weight of all the knowledge: of permission slips, of appointments, of hurt feelings and favourite songs. However, unbeknownst to her, a little wedge of mystery inserted itself into their lives two days, four hours and thirteen minutes ago, when Mila started the computer languishing in a corner of their living room.
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