WINNER OF THE BAILEYS WOMEN'S PRIZE FOR FICTION WINNER OF THE DESMOND ELLIOTT PRIZE KERRY GROUP IRISH NOVEL OF THE YEAR AWARD WINNER OF THE GOLDSMITHS PRIZE Eimear McBride's award-winning debut novel tells the story of a young woman's relationship with her brother, and the long shadow cast by his childhood brain tumour. It is a shocking and intimate insight into the thoughts, feelings and chaotic sexuality of a vulnerable and isolated protagonist. To read A Girl is a Half-formed Thing is to plunge inside its narrator's head, experiencing her world at first hand. This isn't always comfortable - but it is always a revelation.

With an introduction by Eimear McBride A devastatingly powerful, moving and uplifting memoir - now a classic of its genre - that inspired others to tell their own true life stories. When our stepfather staggered home reeking of whisky, ceramic hit the wall. We got used to the smash and the next-day stain, but eventually the wallpaper began to fade . . . For Andrea Ashworth, home is not a place of comfort and solace, but of violence and fear. Her father died when she was five, leaving her close-knit, loving family to battle with poverty, abuse and the long shadow of depression. But from the ashes of 1970s Manchester and the hardships of her coming-of-age in the late 1980s, Andrea finds the courage to rise . . . Written with eye-opening honesty, rare beauty and intense power, Once in a House on Fire is a ground-breaking memoir, endearing in its humour and compassion, and life-affirming in its portrait of terrible circumstances triumphantly overcome.

WINNER OF THE JAMES TAIT BLACK MEMORIAL PRIZE 2017 SHORTLISTED FOR THE GOLDSMITHS PRIZE 2016 SHORTLISTED FOR THE BORD GAIS IRISH NOVEL OF THE YEAR 2016 SHORTLISTED FOR THE RSL ENCORE AWARD 2017 SHORTLISTED FOR THE INTERNATIONAL DUBLIN LITERARY AWARD 2018 LONGLISTED FOR THE BAILEY'S WOMEN'S PRIZE FOR FICTION 2017 LONGLISTED FOR THE INTERNATIONAL DUBLIN LITERARY AWARD The vibrant energy of 1990s London. A year of passion and discovery. The anxiety and intensity of new love. An eighteen-year-old Irish girl arrives in London to study drama and falls violently in love with an older actor. While she is naive and thrilled by life in the big city, he is haunted by demons, and the clamorous relationship that ensues risks undoing them both. At once epic and exquisitely intimate, The Lesser Bohemians is a celebration of the dark and the light in love.

From the winner of the Women's Prize for Fiction 'Powerful . . . truly a living and breathing thing.' Financial Times 'McBride is on blistering form.' Sinead Gleeson 'Nothing else feels so fresh, so radically new.' Garth Greenwell 'An emotionally enchanting novel that gets deep under the skin.' Dazed A woman enters an Avignon hotel room. She's been here once before - but while the room hasn't changed, she is a different person now. Forever caught between check-in and check-out, she will go on to occupy other hotel rooms, from Prague to Oslo, Auckland to Austin, each as anonymous as the last. There, amid the open suitcases, the matchbooks, cigarettes, keys and room-service wine, she will negotiate with memory, with the men she sometimes meets, and with what it might mean to return home.

The searing, must-read feminist essay from the author of A Girl is a Half-formed Thing 'Fearless ... A fierce and fascinating manifesto in McBride's persuasive prose' Sinead Gleeson 'Formidable' Vogue In this galvanizing essay, Eimear McBride unpicks the contradictory forces of disgust and objectification that control and shame women. From playground taunts of 'only sluts do it' but 'virgins are frigid', to ladette culture, and the arrival of 'ironic' porn, via Debbie Harry, the Kardashians and the Catholic church - she looks at how this prejudicial messaging has played out in the past, and still surrounds us today. McBride asks - are women still damned if we do, damned if we don't? How can we give our daughters (and sons) the unbounded futures we want for them? And, in this moment of global crisis, might our gift for juggling contradiction help us to find a way forward? 'A satisfying feminist polemic' Susie Orbach 'Remarkable' Scotsman 'Eimear McBride is that old fashioned thing, a genius' Guardian

'A series of fleeting images and memories ... united by the high intelligence and beauty of Hardwick's prose.' - Sally Rooney

Rediscover a lost American classic: Sleepless Nights, a kaleidoscopic scrapbook of one woman's memories, here reissued with a new introduction by Eimear McBride.

I am alone here in New York, no longer a we ...

First published in 1979, Sleepless Nights is a unique collage of fiction and memoir, letters and essays, portraits and dreams. It is more than the story of a life: it is Elizabeth Hardwick's experience of womanhood in the twentieth century. Escaping her childhood home of Kentucky, the narrator arrives at a bohemian hotel in Manhattan filled with 'drunks, actors, gamblers ... love and alcohol and clothes on the floor.' Here begin the erotic affairs and dinner parties, the abortions and heartbreaks, the friendships and 'people I have buried'. Here are luminous sketches of characters she has met that illuminate the era's racism, sexism, and poverty. Above all, here is prose blurring into poetry, language to lose - and perhaps to find - yourself in.

Society tries to write these lives before they are lived. It does not always succeed.

'Engaging, modern fables with a feminist tang' Sunday Times DARK, POTENT AND UNCANNY, HAG BURSTS WITH THE UNTOLD STORIES OF OUR ISLES, CAPTURED IN VOICES AS VARIED AS THEY ARE VIVID. Here are sisters fighting for the love of the same woman, a pregnant archaeologist unearthing impossible bones and lost children following you home. A panther runs through the forests of England and pixies prey upon violent men. From the islands of Scotland to the coast of Cornwall, the mountains of Galway to the depths of the Fens, these forgotten folktales howl, cackle and sing their way into the 21st century, wildly reimagined by some of the most exciting women writing in Britain and Ireland today. 'A thoroughly original package that has a hint of Angela Carter' The Times 'Sharp writing and cleverly done' Spectator

Winner of numerous literary awards including the Baileys Women's Prize for Fiction, the Geoffrey Faber Memorial Prize and the Goldsmiths Prize, Eimear McBride's debut novel A Girl is a Half-formed Thing plunges us into the psyche of a girl with breathtaking fury and intimacy. 'Eimear McBride is a writer of remarkable power and originality.' Times Literary Supplement 'An instant classic.' Guardian Adapted for the stage by Annie Ryan for The Corn Exchange, Eimear McBride's A Girl is a Half-formed Thing premiered at the Dublin Theatre Festival 2014. 'Unflinching... magnificent... The narrative transposes effortlessly to the stage, as if this is where it belongs.' Guardian 'One of the best stage adaptations of a novel you're likely to see.' Sunday Times

Written during her time as the inaugural fellow in the Beckett archive last year, Eimear McBride's three short, characteristically brilliant texts - collected in one work, Mouthpieces. Each text depicts a fragment of female experience, all of them told in in Eimear's vivid, original and sharp-witted style. In 'The Adminicle Exists', we hear the inner voice of a woman who saves her troubled, dangerous partner; in 'An Act of Violence', a woman is quizzed about her reaction to a man's death; in 'The Eye Machine', the character 'Eye' tells of her imprisonment, flickering through a slideshow of female stereotypes.

Sean Scully (b.1945) is an Irish-born, American-based painter and printmaker, best known for his monumental oil paintings which draw on the traditions of Abstract Expressionism. This catalogue showcases a recent body of work inspired by the National Gallery's own collection and in particular by J.M.W. Turner's The Evening Star (c.1830). For Scully, this elegiac picture constitutes one of Turner's most profound paintings, leading to new departures in his own work. Using the motif of stripes or chequerboards, Scully evokes landscapes and architecture, horizons, fields, and coastlines, in which his contemplative forms become reminders of personal experiences and distinctive moments. Vast, bold panel paintings with richly textured surfaces are illustrated together with delicate works on paper: aquatints and luminous pastels. The accompanying text includes newly commissioned essays, and poetry by Vahni Capildeo and Kelly Grovier, while a unique photo essay by Irish novelist Eimear McBride highlights the sweeping impasto, strong brushstrokes, and vivid colors that distinguish Scully's painting.