Longlisted for the Dylan Thomas Prize 'Ambitious, clever, brilliant and very funny . . . If Elmet announced the arrival of a bright new voice in British literature, Hot Stew confirms Mozley as a writer of extraordinary empathic gifts' Observer 'A dazzling Dickensian tale . . . In an age when so many novelists of Mozley's generation take refuge in the dystopian, she has reinvigorated large-scale social realism for our times' Guardian, Book of the Day 'Where the mystical, elemental qualities of Elmet earned it comparisons with Lawrence and Hardy, her second novel is a sprawling urban comedy more likely to recall Ben Jonson or Dickens' Daily Telegraph 'Did you know in Tudor times all the brothels were south of the river in Southwark and it was only much later that they moved up this way to Soho. Stews, they were called then.' Pungent, steamy, insatiable Soho; the only part of London that truly never sleeps. Tourists dawdling, chancers skulking, addicts shuffling, sex workers strutting, punters prowling, businessmen striding, the homeless and the lost. Down Wardour Street, ducking onto Dean Street, sweeping into L'Escargot, darting down quiet back alleyways, skirting dumpsters and drunks, emerging on to raucous main roads, fizzing with energy and riotous with life. On a corner, sits a large townhouse, the same as all its neighbours. But this building hosts a teeming throng of rich and poor, full from the basement right up to the roof terrace. Precious and Tabitha call the top floors their home but it's under threat; its billionaire-owner Agatha wants to kick the women out to build expensive restaurants and luxury flats. Men like Robert, who visit the brothel, will have to go elsewhere. Those like Cheryl, who sleep in the basement, will have to find somewhere else to hide after dark. But the women won't go quietly. Soho is their turf and they are ready for a fight. 'A complex mosaic of urban life . . . The Soho Mozley captures with such intensity is not a mere locality. It is a microcosm of swarming humanity' The Times 'At its best, it recalls the kind of capacious, rollicking satires Britain produced in and around the Thatcher era - ambitious, scathing and damn good fun' TLS

SHORTLISTED FOR THE MAN BOOKER PRIZE 2017 'Elmet is a quiet explosion of a book, exquisite and unforgettable' - The Economist 'Pastoral idyll, political expose, cosy family saga and horror tale, it reads like a traditional children's story that turns into a gangster film: Hansel and Gretel meets The Godfather' - Sunday Times Daniel is heading north. He is looking for someone. The simplicity of his early life with Daddy and Cathy has turned sour and fearful. They lived apart in the house that Daddy built for them with his bare hands. They foraged and hunted. When they were younger, Daniel and Cathy had gone to school. But they were not like the other children then, and they were even less like them now. Sometimes Daddy disappeared, and would return with a rage in his eyes. But when he was at home he was at peace. He told them that the little copse in Elmet was theirs alone. But that wasn't true. Local men, greedy and watchful, began to circle like vultures. All the while, the terrible violence in Daddy grew. Atmospheric and unsettling, ELMET is a lyrical commentary on contemporary society and one family's precarious place in it, as well as an exploration of how deep the bond between father and child can go.

Longlisted for the Dylan Thomas Prize 'Ambitious, clever, brilliant and very funny . . . If Elmet announced the arrival of a bright new voice in British literature, Hot Stew confirms Mozley as a writer of extraordinary empathic gifts' Observer 'A dazzling Dickensian tale . . . In an age when so many novelists of Mozley's generation take refuge in the dystopian, she has reinvigorated large-scale social realism for our times' Guardian, Book of the Day 'Where the mystical, elemental qualities of Elmet earned it comparisons with Lawrence and Hardy, her second novel is a sprawling urban comedy more likely to recall Ben Jonson or Dickens' Daily Telegraph 'Did you know in Tudor times all the brothels were south of the river in Southwark and it was only much later that they moved up this way to Soho. Stews, they were called then.' Pungent, steamy, insatiable Soho; the only part of London that truly never sleeps. Tourists dawdling, chancers skulking, addicts shuffling, sex workers strutting, punters prowling, businessmen striding, the homeless and the lost. Down Wardour Street, ducking onto Dean Street, sweeping into L'Escargot, darting down quiet back alleyways, skirting dumpsters and drunks, emerging on to raucous main roads, fizzing with energy and riotous with life. On a corner, sits a large townhouse, the same as all its neighbours. But this building hosts a teeming throng of rich and poor, full from the basement right up to the roof terrace. Precious and Tabitha call the top floors their home but it's under threat; its billionaire-owner Agatha wants to kick the women out to build expensive restaurants and luxury flats. Men like Robert, who visit the brothel, will have to go elsewhere. Those like Cheryl, who sleep in the basement, will have to find somewhere else to hide after dark. But the women won't go quietly. Soho is their turf and they are ready for a fight. 'A complex mosaic of urban life . . . The Soho Mozley captures with such intensity is not a mere locality. It is a microcosm of swarming humanity' The Times 'At its best, it recalls the kind of capacious, rollicking satires Britain produced in and around the Thatcher era - ambitious, scathing and damn good fun' TLS

From the legends of King Arthur embedded in the rocky splendour of Tintagel to the folklore and mysticism of Stonehenge, English Heritage sites are often closely linked to native English myths. Following on from the bestselling ghost story anthology Eight Ghosts this is a new collection of stories inspired by the legends and tales that swirl through the history of eight different English Heritage sites. With this evocative collection English Heritage brings new voices and fresh creative alchemy to our ancient historical sites and our story-telling heritage. Also contained is essay by James Kidd on the importance of myth to our landscape and our fiction, and an English Heritage survey of sites and associated legends. New legends for modern times; sprung from our ancient lands, stories and stones.

INTRODUCED BY FIONA MOZLEY, Booker-shortlisted author of Elmet WITH EXCERPTS FROM ALL THE ROADS ARE OPEN BY ANNEMARIE SCHWARZENBACH 'We were both travellers - she always running away from an emotional crisis (not seeing that she was already wishing for the next), I always seeking far afield the secret of harmonious living, or filling up time by courting risk, caught by the clean sharp "taste" it gives to life.' In 1939, adventurer and writer Ella Maillart set off on an epic drive from Geneva to Kabul, accompanied by journalist and photographer Annemarie Schwarzenbach, who later became an antifascist and lesbian icon. The two women travelled partly to escape the coming war in Europe, embarking on a daring, and often dangerous, journey through regions where European women were a rarity. But Schwarzenbach was also fighting a losing battle with morphine addiction, and the women's close but often troubled relationship takes centre stage in the narrative as the journey progresses through Turkey, Iran and Afghanistan. Encountering breathtaking landscapes, ancient ruins and nomadic peoples, The Cruel Way is a gripping, lyrical and deeply empathetic portrait of places, people and friendship. Brought together for the first time with excerpts from All the Roads are Open, Annemarie Schwarzenbach's parallel account of the journey.

Text in Arabic. Daniel is heading north. He is looking for someone. The simplicity of his early life with Daddy and Cathy has turned sour and fearful. They lived apart in the house that Daddy built for them with his bare hands. They foraged and hunted. When they were younger, Daniel and Cathy had gone to school. But they were not like the other children then, and they were even less like them now. Sometimes Daddy disappeared, and would return with a rage in his eyes. But when he was at home he was at peace. He told them that the little copse in Elmet was theirs alone. But that wasn't true. Local men, greedy and watchful, began to circle like vultures. All the while, the terrible violence in Daddy grew.