LONGLISTED FOR THE INTERNATIONAL DUBLIN LITERARY AWARD 2020 LONGLISTED FOR THE RSL ONDAATJE PRIZE 2019 LONGLISTED FOR THE WALTER SCOTT PRIZE FOR HISTORICAL FICTION 2019 LONGLISTED FOR THE RATHBONES FOLIO PRIZE 2019 SHORTLISTED FOR THE HWA CROWN AWARDS 2019 A Times and Sunday Times Book of the Year, Little tells the extraordinary story of a singular, diminutive crumb of a servant girl turned entertainment mogul. 'A startlingly original novel' Times Born in Alsace in 1761, the unsightly, diminutive Marie Grosholtz is quickly nicknamed 'Little'. Orphaned at the age of six, she finds employmet in Bern, Switzerland, under the charge of reclusive anatomist, Dr Curtius. In time the unlikely pair form an unlikely bond, and together they pursue an unusual passion: the fine art of wax-modelling. Forced to flee their city, the doctor and his protegee head for the seamy streets of Paris where they open an exhibition hall for their uncanny creations. Though revolution approaches, the curious-minded flock to see the wax heads, eager to scrutinise the faces of royalty and reprobates alike. At 'The Cabinet of Doctor Curtius', heads are made, heads are displayed, and a future is built from wax. From the gutters of pre-revolutionary France to the luxury of the Palace of Versailles, from casting the still-warm heads of The Terror to finding something very like love, Little is the unforgettable story of how a 'bloodstained crumb of a girl' went on to shape the world...

I consider [Observatory Mansions] the best fiction yet published in the 21st Century' Jeff Vandermeer 'All of Edward Carey's work is profound and delightful' Max Porter '[Edward Carey, with Observatory Mansions] proves the potential brilliance of the novel form' John Fowles Observatory Mansions was once the Orme family's ancestral home. Now it is a crumbing apartment block, stranded on a traffic island and peopled with eccentrics. Alice Orme never stirs from her bed, her husband lives in his old armchair, and Francis, their son, practises his own art of stillness as a human statue in the centre of the decaying city. He lives by his Law of White Gloves, never touching anything without their protection, and collects items for his secret exhibition - items stolen, not because of any monetary worth, but because they are treasured by the owners. This careful routine is shaken by the arrival of a new resident, Anna Tap, half blind and vulnerable, but with a strange gift for inspiring trust. As the other residents gradually open their hearts to her, Francis realises he must act before she forces him to confront his own past, and before she finds out about the mysterious final object in his exhibition. But as the currents of memory and desire swirl within Observatory Mansions' crumbling walls, it seems the sinister Porter has plans of his own... Edward Carey's debut is a novel of immense originality - a strangely haunting landscape occupied by compelling and unforgettable characters.

'Haunting. Geppetto's voice, full of wistful overemphases and bewildered revelation, is absorbing as he takes in the oddity of his situation. And the book, sentence by sentence, offers much in which to luxuriate.' - Sunday Times 'Profound and delightful. It is a strange and tender parable of two maddening obsessions; parenting and art-making' - Max Porter 'Strange, moving and musical, it's a delight' - A. L. Kennedy I am writing this account, in another man's book, by candlelight, inside the belly of a fish. I have been eaten. I have been eaten, yet I am living still. From the acclaimed author of Little comes this beautiful and haunting imagining of the years Geppetto spends within the belly of a sea beast. Drawing upon the Pinocchio story while creating something entirely his own, Carey tells an unforgettable tale of fatherly love and loss, pride and regret, and of the sustaining power of art and imagination.

"An elegant and deeply moving meditation on friendship, family, and life on earth. Rules for Visiting is a wonderful novel." -Emily St. John Mandel, author of Sea of Tranquility, The Glass Hotel, and Station Eleven The national bestseller and an Indie Next List pick Name a Best Book of the Year by O Magazine * Good Housekeeping * Real Simple * Vulture * Chicago Tribune Named a Best Book of the Summer by The Today Show * Good Morning America * Wall Street Journal * San Francisco Chronicle * Southern Living Shortlisted for the 2020 Bollinger Everyman Wodehouse Prize Long-listed for the 2020 Tournament of Books Dry, witty, and unapologetic, May Attaway loves literature and her work as a botanist for the university in her hometown. More at home with plants than people, May begins to suspect she isn't very good at friendship and wonders if it's possible to improve with practice. Granted some leave from her job, she sets out on a journey to spend time with four long-neglected friends. Smart, funny, and full of compassion, Rules for Visiting is the story of a search for friendship in the digital age, a singular look at the way we stay in touch. While May travels, she studies her friends' lives and begins to confront the pain of her own. With simplicity and honesty, Jessica Francis Kane has crafted an exquisite story about a woman trying to find a new way to be in the world. This nourishing book, with its beautiful contemplation of travel, trees, family, and friendship, is the perfect antidote to our chaotic times.

'Haunting. Geppetto's voice, full of wistful overemphases and bewildered revelation, is absorbing as he takes in the oddity of his situation. And the book, sentence by sentence, offers much in which to luxuriate.' - Sunday Times 'Profound and delightful. It is a strange and tender parable of two maddening obsessions; parenting and art-making' - Max Porter 'Strange, moving and musical, it's a delight' - A. L. Kennedy 'A re-imagining of Pinocchio, told from the viewpoint of the beast-entrapped Geppetto, it surprise and delights, and saddens and gladdens, from start to finish.' - Jane Graham I am writing this account, in another man's book, by candlelight, inside the belly of a fish. I have been eaten. I have been eaten, yet I am living still. 'Art objects live in the belly of this marvellous novel, images swallowed by text, sustained by a sublime and loving imagination. Like all Edward Carey's work The Swallowed Man is profound and delightful. It is a strange and tender parable of two maddening obsessions; parenting and art-making' Max Porter 'Strange and lovely' Rhik Samadder 'A beautiful and dark meditation on fatherhood, mercy, redemption and the alchemy of isolation. Strange, moving and musical, it's a delight' A. L. Kennedy From the acclaimed author of Little comes this beautiful and haunting imagining of the years Geppetto spends within the belly of a sea beast. Drawing upon the Pinocchio story while creating something entirely his own, Carey tells an unforgettable tale of fatherly love and loss, pride and regret, and of the sustaining power of art and imagination.

'Roald Dahl by way of Charles Dickens' - Vox.com 'Dark and wildly original urban fantasy tale' - The New York Times 'Delightful, eccentric, heartfelt, surprising, philosophical, everything that a novel for children should be' - Eleanor Catton, winner of the Man Booker Prize 2013 'A rare work of individual brilliance' - Inis magazine The Iremongers have taken up what was not wanted and wanted it. Clod is an Iremonger. He lives in the Heaps, a vast sea of lost and discarded items collected from all over London. At the centre is Heap House, a puzzle of houses, castles, homes and mysteries reclaimed from the city and built into a living maze of staircases and scurrying rats. The Iremongers are a mean and cruel family, robust and hardworking, but Clod has an illness. He can hear the objects whispering. His birth object, a universal bath plug, says 'James Henry', Cousin Tummis's tap is squeaking 'Hilary Evelyn Ward-Jackson' and something in the attic is shouting 'Robert Burrington' and it sounds angry. A storm is brewing over Heap House. The Iremongers are growing restless and the whispers are getting louder. When Clod meets Lucy Pennant, a girl newly arrived from the city, everything changes. The secrets that bind Heap House together begin to unravel to reveal a dark truth that threatens to destroy Clod's world.

'Roald Dahl by way of Charles Dickens' - Vox.com 'Astonishing and inventive, it calls out to be read' - The Sunday Times 'Dark and wildly original urban fantasy tale' - New York Times 'All of Edward Carey's work is profound and delightful' - Max Porter 'If this were music, Carey would be Eric Satie. If it were film, he would be Tim Burton.' - Newsday The ghastly climax to the gothic Iremonger trilogy The dirt town of Foulsham has been destroyed, its ashes still smoldering. Darkness lies heavily over the city, the sun has not come up for days. Inside the houses throughout the capital, ordinary objects have begun to move. Strange new people run through the darkened streets. There are rumours of a terrible contagion. From the richest mansion to the poorest slum people have disappeared. The police have been instructed to carry arms. And rats, there are rats everywhere. Someone has stolen a certain plug. Someone is lighting a certain box of matches. All will come tumbling down. The Iremongers have come to London.

'All of Edward Carey's work is profound and delightful' - Max Porter 'Dark and wildly original urban fantasy tale' - The New York Times 'If this were music, Carey would be Eric Satie. If it were film, he would be Tim Burton.' - Newsday 'A rare work of individual brilliance' - Inis magazine Dark, gothic and delightfully macabre, the Iremonger family return... Foulsham, London's great filth repository, is bursting at the seams. The walls that keep the muck in are buckling, rubbish is spilling over the top, back into the city that it came from. In the Iremonger family offices, Grandfather Umbitt Iremonger broods: in his misery and fury at the people of London, he has found a way of making everyday objects assume human shape, and turning real people into objects. Abandoned in the depths of the Heaps, Lucy Pennant has been rescued by a terrifying creature, Binadit Iremonger - more animal than human. She is desperate and determined to find Clod. But unbeknownst to her, Clod has become a golden sovereign and is 'lost'. He is being passed as currency from hand to hand all around Foulsham, and yet everywhere people are searching for him, desperate to get hold of this dangerous Iremonger, who, it is believed, has the power to bring the mighty Umbitt down. But all around the city, things, everyday things, are twitching into life...

'Haunting. Geppetto's voice, full of wistful overemphases and bewildered revelation, is absorbing as he takes in the oddity of his situation. And the book, sentence by sentence, offers much in which to luxuriate.' - Sunday Times 'Profound and delightful. It is a strange and tender parable of two maddening obsessions; parenting and art-making' - Max Porter 'Strange, moving and musical, it's a delight' - A. L. Kennedy 'A re-imagining of Pinocchio, told from the viewpoint of the beast-entrapped Geppetto, it surprise and delights, and saddens and gladdens, from start to finish.' - Jane Graham I am writing this account, in another man's book, by candlelight, inside the belly of a fish. I have been eaten. I have been eaten, yet I am living still. 'Art objects live in the belly of this marvellous novel, images swallowed by text, sustained by a sublime and loving imagination. Like all Edward Carey's work The Swallowed Man is profound and delightful. It is a strange and tender parable of two maddening obsessions; parenting and art-making' Max Porter 'Strange and lovely' Rhik Samadder 'A beautiful and dark meditation on fatherhood, mercy, redemption and the alchemy of isolation. Strange, moving and musical, it's a delight' A. L. Kennedy From the acclaimed author of Little comes this beautiful and haunting imagining of the years Geppetto spends within the belly of a sea beast. Drawing upon the Pinocchio story while creating something entirely his own, Carey tells an unforgettable tale of fatherly love and loss, pride and regret, and of the sustaining power of art and imagination.

Once the Orme family’s magnificent ancestral estate, Observatory Mansions is now a crumbling apartment complex, home to an eccentric group of misfits. One of them is Francis Orme, who earns his livelihood as a living statue. When not practicing “inner and outer stillness,” Francis steals the cherished possessions of others to add to his private museum. The other tenants are equally as odd: his mother and father, who haven’t interacted in years; a man who continually sweats and cries; a recluse who prefers television to reality; and a woman who behaves like a dog. When Anna Tapp arrives among them she stirs their souls, bringing long forgotten memories to the surface–and arousing fears that this new resident intends to provoke a metamorphosis.
Reminiscent of Beckett, Ionesco, and Millhauser but startlingly original, Observatory Mansions is also unexpectedly beguiling. Upon its publication in England, it was a literary sensation, and John Fowles called it “easily the most brilliant fiction I’ve seen this year.”

LONGLISTED FOR THE INTERNATIONAL DUBLIN LITERARY AWARD 2020 LONGLISTED FOR THE RSL ONDAATJE PRIZE 2019 LONGLISTED FOR THE WALTER SCOTT PRIZE FOR HISTORICAL FICTION 2019 LONGLISTED FOR THE RATHBONES FOLIO PRIZE 2019 SHORTLISTED FOR THE HWA CROWN AWARDS 2019 'A highly original novel' - Sunday Times, PAPERBACK BOOKS OF THE YEAR 2019 There is a space between life and death: it's called waxworks. Born in Alsace in 1761, the unsightly, diminutive Marie Grosholtz is quickly nicknamed 'Little'. Orphaned at the age of six, she finds employmet in Bern, Switzerland, under the charge of reclusive anatomist, Dr Curtius. In time the unlikely pair form an unlikely bond, and together they pursue an unusual passion: the fine art of wax-modelling. Forced to flee their city, the doctor and his protegee head for the seamy streets of Paris where they open an exhibition hall for their uncanny creations. Though revolution approaches, the curious-minded flock to see the wax heads, eager to scrutinise the faces of royalty and reprobates alike. At 'The Cabinet of Doctor Curtius', heads are made, heads are displayed, and a future is built from wax. From the gutters of pre-revolutionary France to the luxury of the Palace of Versailles, from casting the still-warm heads of The Terror to finding something very like love, Little is the unforgettable story of how a 'bloodstained crumb of a girl' went on to shape the world... 'Don't miss this eccentric charmer' @MargaretAtwood 'Absolutely brilliant' Susan Hill 'Rich and engrossing, there is an extraordinary potency to Carey's material ... A visceral, vivid and moving novel' GUARDIAN 'In this gloriously gruesome imagining of the girlhood of Marie Tussaud, mistress of wax, fleas will bite, rats will run and heads will roll and roll and roll. Guts'n'gore galore: I bloody loved it' SPECTATOR 'A tale as moving as it is macabre' MAIL ON SUNDAY 'One of the most original historical novels of the year... Macabre, funny, touching and oddly life-affirming, Little is a remarkable achievement' SUNDAY TIMES 'Beautifully published... poignant... absorbing' LITERARY REVIEW 'Clever and intriguing' DAILY MAIL 'Marie's story is fascinating in itself, but Carey's talent makes her journey a thing of wonder' NEW YORK TIMES 'By turns witty, ghoulish, poignant and curiously life-affirming, Little is a historical novel unlike any other' BBC HISTORY MAGAZINE 'It is Carey's uniquely inventive style that makes this novel so completely, wickedly, addictive' BIG ISSUE 'Edward Carey is one of the strangest writers we are privileged to have in this country' OBSERVER 'Carey creates an indelible character in Little, sprinkles idiosyncratic drawings throughout and folds his narrative in cunning ways...' BBC 'Full of rich historical detail and beautiful illustrations ... a rare treat of a novel that will stay with you long after you turn the final page' HEAT 'Compulsively readable: so canny and weird and surfeited with the reality of human capacity and ingenuity that I am stymied for comparison. Dickens and David Lynch? Defoe meets Atwood? Judge for yourself...' Gregory Maguire, author of WICKED

'Roald Dahl by way of Charles Dickens' - Vox.com 'Dark and wildly original urban fantasy tale' - The New York Times 'Delightful, eccentric, heartfelt, surprising, philosophical, everything that a novel for children should be' - Eleanor Catton, winner of the Man Booker Prize 2013 'A rare work of individual brilliance' - Inis magazine The Iremongers have taken up what was not wanted and wanted it. Clod is an Iremonger. He lives in the Heaps, a vast sea of lost and discarded items collected from all over London. At the centre is Heap House, a puzzle of houses, castles, homes and mysteries reclaimed from the city and built into a living maze of staircases and scurrying rats. The Iremongers are a mean and cruel family, robust and hardworking, but Clod has an illness. He can hear the objects whispering. His birth object, a universal bath plug, says 'James Henry', Cousin Tummis's tap is squeaking 'Hilary Evelyn Ward-Jackson' and something in the attic is shouting 'Robert Burrington' and it sounds angry. A storm is brewing over Heap House. The Iremongers are growing restless and the whispers are getting louder. When Clod meets Lucy Pennant, a girl newly arrived from the city, everything changes. The secrets that bind Heap House together begin to unravel to reveal a dark truth that threatens to destroy Clod's world.

'I blame the pencil. I hadn't meant to do it. I wasn't thinking. It just happened that way.' In March 2020, as lockdowns were imposed around the world, author and illustrator Edward Carey published a sketch on social media with a plan to keep posting a drawing a day from his family home in Austin, Texas, until life returned to normal. One hundred and fifty pencil stubs later, he was still drawing. Carey's hand moved with world events, chronicling pandemic and politics. It reached into the past, taking inspiration from history, and escaped grim reality through flights of vivid imagination and studies of the natural world. The drawings became a way of charting time, of moving forward, and maintaining connection at a time of isolation. This remarkable collection of words and drawings from the acclaimed author of Little and The Swallowed Man charts a tumultuous year in pencil, finding beauty amid the horror of extraordinary times.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Tidal Lands: A Study Of Shore Problems Alfred Edward Carey, Francis Wall Oliver Blackie and son limited, 1918 Coasts; Marshes, Tide; Reclamation of land; Salt marshes

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.