A FINALIST FOR THE 2022 NATIONAL BOOK AWARD 'A fascinating meditation on Black female creativity from the author of Corregidora and Palmares . . . Vivid characters shimmer through the pages' Suzi Feay, GUARDIAN 'I am living on the white-washed island of Ibiza with my friend Catherine Shuger, a sculptor who has been declared legally insane, and her husband, Ernest. Standing on the terrace, sheltered in the smell of oranges and eucalyptus, washed in sunlight, you'd swear this was a paradise. But to tell the truth the place is full of dangers. You see, Catherine sometimes tries to kill her husband. It has been this way for years . . . My name's Amanda Wordlaw. Wonderful name for a writer, isn't it? . . . I guess I'm sort of a choice companion for the Shugers - professional watcher and listener that I am. It's like they need someone else to witness the shit, the spectacle they make of themselves.' 'Gayl Jones constructs a novel that is part mystery, part thriller, and wholly captivating . . . Jones is an outstanding writer . . . A shining segment of the American literary canon has been restored' Kate Webb, TIMES LITERARY SUPPLEMENT 'With the plush scenery of a travelogue, the misshapen soul of a noir and the anarchic spirit of a trickster tale, this novel revolves around three Black American expatriates . . . Catherine is suspicious of Amanda's intentions toward her husband, but, in Jones's fearsome, fractured narrative, her potential for violence seems no more alarming than anything else that might befall these social outsiders' NEW YORKER (Best books of 2022)

FINALIST FOR THE 2022 NATIONAL BOOK AWARD The Birdcatcher is the new novel from a major voice in American literature, which explores artists in exile, dangerous relationships and the demands of creativity. 'A literary giant, and one of my absolute favourite writers' - Tayari Jones, author of An American Marriage 'I am living on the white-washed island of Ibiza with my friend Catherine Shuger, a sculptor who has been declared legally insane, and her husband, Ernest. Standing on the terrace, sheltered in the smell of oranges and eucalyptus, washed in sunlight, you'd swear this was a paradise. But to tell the truth the place is full of dangers. You see, Catherine sometimes tries to kill her husband. It has been this way for years . . .' 'My name's Amanda Wordlaw. Wonderful name for a writer, isn't it? . . . I guess I'm sort of a choice companion for the Shugers - professional watcher and listener that I am. It's like they need someone else to witness the shit, the spectacle they make of themselves.' 'A fascinating meditation on Black female creativity from the author of Corregidora and Palmares . . . Vivid characters shimmer through the pages' Suzi Feay, GUARDIAN

FINALIST FOR THE NATIONAL BOOK AWARD 'A literary giant, and one of my absolute favourite writers' TAYARI JONES Harlan Jane Eagleton is a faith healer, travelling to small towns, converting sceptics, restoring minds and bodies. But before that she was a rock star's manager and race-track gambler. She's had a fling with her rock star's ex-husband and along the way she's somehow lost her own husband - a medical anthropologist now travelling with a medicine woman in Africa. Harlan tells her story from the end backwards, drawing us ever deeper into her world and the mystery at the heart of her tale - the story of her first healing. 'An important American writer . . . The Healing examines precisely what its title announces: healing from silence, from physical attacks and treachery, from spiritual and cultural isolation, from the pain of old-fashioned, aching, bluesy love . . . It is also a very funny book . . . A moving affirmation of forgiveness and trust . . . The Healing should be cause for hope, sustenance and even celebration' - Valerie Sayers, New York Times

'No novel about any black woman could ever be the same after this' TONI MORRISON 'Corregidora is the most brutally honest and painful revelation of what has occurred, and is occurring, in the souls of Black men and women' JAMES BALDWIN Upon publication in 1975, Corregidora was hailed as a masterpiece, winning acclaim from writers including James Baldwin, Maya Angelou, Toni Morrison and John Updike. Exploring themes such as race, sexuality and the long repercussions of slavery, this powerful novel paved the way for Beloved and The Colour Purple. Now, this lost classic is published for a new generation of readers. Blues singer Ursa is consumed by her hatred of Corregidora, the nineteenth-century slave master who fathered both her mother and grandmother. Charged with 'making generations' to bear witness to the abuse embodied in the family name, Ursa Corregidora finds herself unable to keep alive this legacy when she is made sterile in a violent fight with her husband. Haunted by the ghosts of a Brazilian plantation, pained by a present of lovelessness and despair, Ursa slowly and firmly strikes her own terms with womanhood. AS HEARD ON THE BACKLISTED PODCAST 'A literary giant, and one of my absolute favourite writers' TAYARI JONES, author of AN AMERICAN MARRIAGE Also new to the VMC list: Eva's Man and The Healing by Gayl Jones. 'An American writer with a powerful sense of vital inheritance, of history in the blood' JOHN UPDIKE 'Gayl Jones's first novel, Corregidora (1975), was both shocking and ground-breaking in its probing of the psychological legacy of slavery and sexual ownership through the life of a Kentucky blues singer ... it predated Alice Walker's The Color Purple and Toni Morrison's Beloved, revealing an unfinished emancipation and the power of historical memory to shape lives. It also marked a shift in African-American literature that made women, and relationships between black people, central' MAYA JAGGI, Guardian 'Corregidora's survey of trauma and overcoming has become even better and more relevant with the passage of time. It remains an indispensable point of entry into the tradition of African American writing that Gayl Jones reshaped and enriched' PAUL GILROY

'A literary giant, and one of my absolute favourite writers' Tayari Jones, author of AN AMERICAN MARRIAGE 'Gayl Jones is a literary legend' - Yara Rodrigues Fowler, author of THERE ARE MORE THINGS 'Her prose is intricate, mesmerizing, and endlessly inventive and subversive' Deesha Philyaw, author of THE SECRET LIVES OF CHURCH LADIES Gayl Jones's long career began with her blistering 1975 debut, Corregidora, which was edited by Toni Morrison, and she is increasingly recognised as one of the great literary writers of the twentieth century. In this new collection of short fiction, Jones's unique talents are displayed in a range of settings and styles, from the hyper-realist to the mystical, in novella-length stories, intricate multi-part narratives and in compelling fragments. Endlessly inventive, challenging and surprising, Jones writes about our diverse world. Her characters are spies, photographers, baristas, cartoonists and revolutionaries; her settings are historical and contemporary, in Europe and the Americas. With sharp observation, wit and poignancy, Jones explores complex identities and unorthodox longings. 'Jones's writing powerfully blends narrative and lyricism . . . Her imagination seems to thrive on outstripping one's expectations' Margo Jefferson 'Every Jones publication is a major event, but this one is particularly precious . . . Jones's settings, which span time and geography, vary as much as the identities of her protagonists, which include women and men, Black, brown, and Indigenous people, artists and spies. The common threads are creativity and devastating insight' Oprah Daily, 'The Books We Can't Wait to Read in 2023'

A FINALIST FOR THE 2022 PULITZER PRIZE FOR FICTION Palmares hails the return of a major voice in literature - 'the best American novelist whose name you may not know' (Atlantic). Gayl Jones was first discovered and edited by Toni Morrison, and her talent was praised by writers including Maya Angelou, James Baldwin and John Updike. After a handful of acclaimed novels, she withdrew from the publishing world. Now Jones returns with her first new novel in over two decades. AN EPIC TALE OF LOVE AND LIBERATION SET IN SEVENTEENTH-CENTURY COLONIAL BRAZIL From plantation to plantation, Almeyda, a young slave girl, hears whispers, rumours of Palmares, a hidden settlement where fugitive slaves live free. But can this promised land exist? And what price is paid for 'freedom'? In Palmares, Gayl Jones brings to life a world full of unforgettable characters, reimagining extraordinary historical events and combining them with mythology and magic. The result is a sweeping saga spanning a quarter of a century. Of Gayl Jones, the New Yorker noted, '[Her] great achievement is to reckon with both history and interiority, and to collapse the boundary between them.' Like nothing else before it, Palmares embodies this gift.

This exquisite book-length poem is set in colonial Brazil, following the destruction of Palmares, the last of seven fugitive slave enclaves beset by the Portuguese. Amid the flight and reenslavement of its inhabitants emerges the love story of Anninho and Almeyda, former African slaves. Song for Anninho offers readers some of Gayl Jones's very best verse.

A 2022 PULITZER PRIZE FINALIST LONGLISTED FOR THE RATHBONES FOLIO PRIZE 'A once-in-a-lifetime work of literature, the kind that changes your understanding of the world' Yara Rodriguez Fowler, Guardian 'Astonishingly rich in character and incident, filled with magic and mystery' Sunday Times 'Intricate, mesmerizing and endlessly inventive and subversive' Deesha Philyaw, author of The Secret Lives of Church Ladies 'A story woven with extraordinary complexity, depth and skill', Robert Jones, Jr, author of The Prophets AN EPIC TALE OF LOVE AND LIBERATION SET IN SEVENTEENTH-CENTURY COLONIAL BRAZIL From plantation to plantation, Almeyda, a young slave girl, hears whispers, rumours of Palmares, a hidden settlement where fugitive slaves live free. But can this promised land exist? And what price is paid for 'freedom'? In Palmares, Gayl Jones brings to life a world full of unforgettable characters, reimagining extraordinary historical events and combining them with mythology and magic. The result is a sweeping saga spanning a quarter of a century. Of Gayl Jones, the New Yorker noted, '[Her] great achievement is to reckon with both history and interiority, and to collapse the boundary between them.' Like nothing else before it, Palmares embodies this gift.

By the acclaimed writer of Palmares and Corregidora. When the Portuguese attack Palmares, Brazil's last fugitive slave enclave, Almeyda and her husband are separated as they flee from the destruction. Amid the flight and re-enslavement of the inhabitants, their narrative emerges. Two powerful, epic poems give voice to the lovers: Almeyda's passionate lament for Anninho, whom she believes has been killed, is combined with his response as he searches for her. Their story is one of longing - for each other, for freedom - and for revolution. 'I want to stay here, Anninho.' 'There won't be any way you can stay here. When they catch us, they'll take you back.' 'The men they kill, the women they take back.'

'A literary giant, and one of my absolute favourite writers' TAYARI JONES, author of AN AMERICAN MARRIAGE Eva Medina Canada sits in her psychiatric ward, silent and unremorseful. She has murdered her lover and they want to know why. Her memories weave back and forth over encounters with the men in her life - the schoolboy who played doctors and nurses with a dirty popsicle stick; her mother's boyfriend; her cousin; her husband; a stranger on the bus. She's been propositioned and abused for as long as she can remember. 'Corregidora was a small, fiercely concentrated story, harsh and perfectly told . . . Original, superbly imagined, nothing about the book was simple or easily digested. Out of the worn themes of miscegenation and diminishment, Gayl Jones excavated the disturbingly buried damage of racism. Eva's Man is a deepened exploration of the woman's inner life; of the pressures, the cruelties, the imposed expectations' Darryl Pinckney, The New Republic 'Gayl Jones is one furious, lacerating writer. You don't read her easily, and you can't forget her at all . . . Hyper-real and traumatic as this novel is, it's one that's been waiting to be written since Samuel Richardson gave us the male point of view of Clarissa, that other fallen woman whose only acceptable alternative to ravishment was death. Eva's silence, and her status here as legally insane, are eloquent testimony to the condition of being a woman in this man's world' Kirkus

Sojourner Nadine Jane Johnson, an African-American truck driver also known as Mosquito, inadvertently becomes involved in the new underground railroad, a sanctuary movement for Mexican immigrants.