A collection of brand-new short stories written by major international writers and inspired by Kafka - to commemorate one hundred years since his death Franz Kafka is widely regarded as one of the greatest and most enigmatic geniuses of twentieth-century literature. Few writers have inspired as much interpretation, adaptation and imitation as he has - from films to novels to memes - and very few artists in any field have created work that captures so resonantly the fraught peculiarity of our existence. What happens when Kafka's idiosyncratic imagination meets some of the greatest literary minds writing in English across the globe today? From a future society who ask their AI servants to construct a giant tower to reach God; to a flat hunt that descends into a comically absurd bureaucratic nightmare; to a population experiencing a wave of anxiety attacks, these specially commissioned stories speak powerfully to the strangeness of being alive today.

A collection of brand-new short stories written by major international writers and inspired by Kafka - to commemorate one hundred years since his death Franz Kafka is widely regarded as one of the greatest and most enigmatic geniuses of twentieth-century literature. Few writers have inspired as much interpretation, adaptation and imitation as he has - from films to novels to memes - and very few artists in any field have created work that captures so resonantly the fraught peculiarity of our existence. What happens when Kafka's idiosyncratic imagination meets some of the greatest literary minds writing in English across the globe today? From a future society who ask their AI servants to construct a giant tower to reach God; to a flat hunt that descends into a comically absurd bureaucratic nightmare; to a population experiencing a wave of anxiety attacks, these specially commissioned stories speak powerfully to the strangeness of being alive today.

WINNER OF THE JAMES TAIT BLACK PRIZE FOR FICTION 2022 'Remarkable' - Colm Toibin, author of Brooklyn 'Like Finnegans Wake, only readable' - The Times In A Shock, a clutch of more or less loosely connected characters appear, disappear and reappear. They are all of them on the fringes of London life, often clinging on - to sanity, solvency or a story - by their fingertips. With this deftly conjured high-wire act, Ridgway achieves a fine balance between drama and fidelity to his characters. The result is pin-sharp and breathtaking. Book of the Year Selection in the Guardian, New York Times, Spectator, Hot Press and The White Review Shortlisted for The Goldsmiths Prize

Hawthorn and his partner, Child, are called to the scene of a mysterious shooting in North London. The only witness is unreliable, the clues are scarce, and the victim, a young man who lives nearby, swears he was shot by a ghost car. While Hawthorn battles with fatigue and strange dreams, the crime and the narrative slip from his grasp and the stories of other Londoners take over: a young pickpocket on the run from his boss; an editor in possession of a disturbing manuscript; a teenage girl who spends her days at the Tate Modern; and a madman who has been infected by former Prime Minister, Tony Blair. Haunting these disparate lives is the shadowy figure of Mishazzo, an elusive crime magnate who may be running the city, or may not exist at all.

A novel of confusion and paranoia, love and doubt, fear and hysteria: unsettling, unhinged, provocative and bestially funny, 'Animals' is for human beings everywhere. Keith Ridgway's third novel is a psychological menagerie of confusion, paranoia, searching and love. Narrated by an illustrator who can no longer draw, it tells of the sudden and inexplicable collapse of a private life, and the subsequent stubborn search for a place from which to take stock. We are surrounded here - by unsafe or haunted buildings, by artists and capitalists who flirt with terror, by writers and actresses and the deals they have made with unreality, and by the artificial, utterly constructed, scripted city in which we have agreed to live out a version of living. But there are cracks in the facade, and there are stirrings under the floorboards, and there are animals everywhere you look, if only you'd dare to look for them. Unsettling, unhinged, provocative and richly funny, 'Animals' is for human beings everywhere.

Shortlisted for the James Tait Black Prize for Fiction and The Goldsmiths Prize A Guardian, New York Times, Spectator, Hot Press and White Review Book of the Year 'A Shock inhabits the secret life of a city, its hidden energies. It dramatizes how patterns form and then disperse, how stories are made and relationships created . . . remarkable' - Colm Toibin, author of Brooklyn In A Shock, a clutch of more or less loosely connected characters appear, disappear and reappear. They are all of them on the fringes of London life, often clinging on - to sanity or solvency or a story - by their fingertips. Keith Ridgway, author of the acclaimed Hawthorn & Child, writes about people whose understanding of their own situation is only ever partial and fuzzy, who are consumed by emotions and anxieties and narratives, or the lack thereof, that they cannot master. He focuses on peripheral figures who mean well and to whom things happen, and happen confusingly, and his fictional strategies reflect this focus. In a deftly conjured high-wire act, Ridgway achieves the fine balance between the imperatives of drama and fidelity to his characters. The result is pin-sharp and often breathtaking. 'Political, pertinent, spunky and funny, A Shock is a grand sweep of modern storytelling' - June Caldwell, author of Room Little Darker 'A Shock is a perfect, living circle of beauty and mystery, clearsighted and compassionate, and, at times, wonderfully funny' - David Hayden, author of Darker With the Lights On

Grace Quinn is an Englishwoman living in rural Ireland. Isolated by religion and circumstance, she endures both an abusive husband and a strained relationship with her son, Martin, whose open homosexuality her husband refused to accept. After an act of desperation, reeling with doubt and denial, she seeks out her son in Dublin. Keith Ridgway "affectingly renders the separate sanctuaries of mother and son . . .and lights the distance between them" (The New Yorker).