The Republic of the Congo, 1964. A young man is facing a firing squad, preparing for his last moment on Earth. He reflects on his childhood with a distant mother, and the moments which have led to him finding himself staring death in the face. Patrick Nothomb is a young diplomat, aged 28, when he is taken hostage with thousands of others in Stanleyville (now Kisangani) by rebels. Over the course of four months, Nothomb has negotiated with his captors each and every day, saving the lives of 1500 citizens. Inspired by the life of her father, who died at the beginning of the COVID 19 pandemic, Amélie Nothomb slips into his shoes to give voice to his story.

The Gospel according to Amelie Jesus is perhaps the most universally known figure in the Western world, yet he remains one of the most obscure. In her reinterpretation of the story of the Passion and crucifixion, Nothomb gives voice to a transgressive Messiah, the son of God portrayed as deeply human. Not so much because of his broken chastity vows, rather because of his inability to forgive himself for the pointless and sadistic mise-en-scene that is the Passion. It all starts with the farcical trial at the court of Pontius Pilate. When the witnesses for the prosecution stand up one by one, they turn out to be, paradoxically, the very ones who were healed by Jesus' miracles, from the disgruntled beggar no longer able to solicit alms, to the man who, freed from satanic possession, now finds his life fatally boring. As the familiar, harrowing tale unfolds in all its dramatic intensity, Nothomb veers from the tragic to the comic, from deep compassion to cold mercilessness. She distils the essence of life down to its basic components - love, death and thirst - revealing that real human strength resides in the body, not in the spirit.

'Ingenious . . . With great delicacy, Nothomb updates the age-old divide between East and West in this delectable little book.' O, The Oprah Magazine Amelie, a well-intentioned and eager young westerner, goes to Japan to spend a year working at the Yumimoto Corporation. Returning to the land where she was born is the fulfilment of a dream for Amelie, but once there her working life quickly becomes a comic nightmare of terror and self-abasement. Disturbing, hilarious and totally convincing, Fear and Trembling displays an elegant and shrewd understanding of the intricate ways in which Japanese relationships are made and spoiled. 'A vituperatively funny attack on an alien culture.' Daily Telegraph 'Nothomb is the latest enfant terrible of French letters - she has an acidic yet passionately romantic view of human nature.' Elle 'A scathingly funny novella.' Newsday

According to ancient Japanese protocol, foreigners deigning to approach the emperor did so only with fear and trembling. Terror and self-abasement conveyed respect. Amélie, our well-intentioned and eager young Western heroine, goes to Japan to spend a year working at the Yumimoto Corporation. Returning to the land where she was born is the fulfillment of a dream for Amélie; working there turns into comic nightmare.

Alternately disturbing and hilarious, unbelievable and shatteringly convincing, Fear and Trembling will keep readers clutching tight to the pages of this taut little novel, caught up in the throes of fear, trembling, and, ultimately, delight.

'I lived everything during these three years: heroism, glory, treachery, love, indifference, suffering, humiliation. It was China, I was seven years old.' So announces the narrator of Loving Sabotage, Amelie Nothomb's critically acclaimed novel about a young girl already stripped of illusions. The daughter of diplomats posted to Peking in the mid-seventies, our unnamed narrator charges about her tightly enclosed world on her 'horse' (bicycle) with the dictatorial clarity and loneliness of a warrior-philosopher. 'From puberty onwards,' she announces at one point, 'life is just an epilogue.' There, on the asphalt-playground-battlefield, she discovers her first love: six-year-old Elena, her very own coldly indifferent 'Helen of Troy.' But she also learns life's hardest rule: that if she wants to be loved, she must be cruel in return. Poignant, provocative - and often hilarious - Loving Sabotage chronicles one girl's precocious understanding of the struggles and pains of adult life.; A brilliant backlist novel from Amelie Nothomb, which will help maintain the momentum behind her work in the UK following the acclaim and success of The Book of Proper Names Her new novel, Antichrista, is p

So announces the narrator of Loving Sabotage, Amelie Nothomb's critically acclaimed novel about a young girl who seems already stripped of illusions. The daughter of diplomats posted in Peking for three years in the mid-seventies, our unnamed narrator charges about her tightly enclosed world of the concrete ghetto of San Li Tun on her "horse" -- her bicycle -- with the dictatorial clarity and loneliness of a warrior-philosopher. "From puberty onwards", she announces at one point, "life is just an epilogue". On the battlefield of an asphalt playground, in between "wars" with the children of other nations, she discovers her first love: six-year-old Elena, her coldly indifferent "Helen of Troy". But she soon learns life's hardest rule: if she wants to be loved, she must be cruel in return.

A fast, furious -- and often hilarious -- novel of childhood infatuation and intuited truths, Loving Sabotage chronicles one girl's precocious understanding of the struggles and pains of adult life.

The Japanese believe that until the age of three, children are gods, each one an okosama, or 'Lord Child'. On their third birthday they fall from grace and join the rest of mankind. Narrated by a child - from the age of two and a half up until her third birthday - this novel reveals how this fall from grace can be a very difficult thing indeed from which to recover. 'Nothomb potently distils from the state of infancy the intensity of beginnings, the precariousness, the trailed clouds of glory - that grow indistinct as childhood approaches.' New York Times 'Amelie Nothomb, like an urchin about to pick your pocket, has frighteningly clear eyes and a disarming voice with a wicked snap.' Luc Sante

Sulphuric Acid tells the story of a reality TV death camp, which has become the nation's obsession - an amoral spectacle played out through the media. It is a blackly funny and shocking satire on the modern predilection for reality television and celebrity, in which the audience at home develops a taste for blood.