‘Compelling, elegant and bitingly smart, Reproduction left me reeling. It is playful and serious, witty and searing, inventive and heart-rending. I utterly loved it.’ Nell Stevens, author of Briefly, A Delicious Life ‘I read this novel in a single rapturous sitting, torn between the desire to hurtle through its hypnotic prose and the desire to reread every perfect sentence. Reproduction exquisitely captures the lunacy of inhabiting an animal body with a human mind, and somehow manages also to be gross, funny, heartrending, and formally acrobatic. Louisa Hall is a singular talent and I am a devotee.’ Melissa Febos, author of Body Work and Girlhood ‘A brave and dynamic novel about the creation of life and art – narratively free, compulsively readable, and true to life.’ Tao Lin, author of Leave Society and Taipei ‘What a brilliant novel! I was moved, troubled, enchanted; hardly able to breathe as I read. Hall’s dazzling and original tale has the force of myth, embodying the monstrous challenges of reproducing in our strange new world.’ Andrea Barrett, author of Ship Fever and Natural History ‘It’s taken me seven years of reading, and about a thousand more books, to be able to say once again: “This is the best book I’ve ever read.� For one thing, Louisa Hall has written what is by far the best depiction of childbirth I’ve ever seen in print. In other pages, she has perfectly captured the hollow void of grief after the miscarriage of a wanted child. She has reminded me of the sometime-strangeness of living inside a woman’s body when it refuses to get pregnant when you want it to, or gets pregnant when you don’t want it to. I’ve also had the privilege of spending time with a deeply feeling, deeply observant narrator, and she has gifted me with a wise and revelatory view of these times. When I read this book again in ten years I’ll surely be saying to myself: ‘Yes, that is exactly how it was.’ It’s a marvellous gift of a book.’ Claire Oshetsky, author of Chouette For readers of Rachel Cusk, Jenny Offill, and Doireann Ní Ghríofa, a deeply intimate novel about pregnancy, birth, and artistic creation, by the Dylan Thomas Prize-shortlisted author of Trinity and Speak. A woman begins work on a novel about Mary Shelley while pregnant for the first time. Recently married, she has just moved from New York to Montana. As the woman writes, fragments of Shelley’s story begin to detach themselves from the page. Moving through her reproductive years, Shelley endured a catalogue of losses painful beyond comprehension. Still, she wrote, conceiving Frankenstein in 1818. The woman’s experiences of pregnancy, miscarriage and labour are traumatic and disorienting, especially in the context of political upheaval, climate crisis, and an ongoing pandemic. Finally, she gives birth to a daughter and together they emerge into another world. Then a friend from the past reappears. Anna is a biochemist who has been struggling to become a parent, a scientist who sees everything as an experiment. How far will she go in her desire to bring a baby into being? A Frankenstein for the twenty-first century, Reproduction is a story of intense grief and transformative joy, and a powerful depiction of the emotional and physical costs of creating new life. 'Louisa Hall is a writer to be admired.' Kevin Powers, author of The Yellow Birds ‘Crystalline, utterly persuasive and transfixing.’ New York Times on Speak ‘Hypnotic . . . Hall has a knack for the precise, underwritten image.’ Guardian on Speak

A fascinating, complex, and multi-faceted man, Oppenheimer was a devotee of liberal causes, as well as the father of the atom bombs dropped on Hiroshima and Nagasaki. He loyally protected his Communist friends only to later betray them; he repeatedly lied about love affairs and struggled to explain his actions; he defended the use of the atomic bomb he helped create, then lobbied against nuclear proliferation. Hall's brilliant and fresh new novel explores the overlap between science and literature, the connections between fiction and biography, and the different ways in which we know other people. Ultimately it begs the question: how can we ever really know another person?

She cannot run. She cannot walk. She cannot even blink. As her batteries run down for the final time, all she can do is speak. Will you listen? From a pilgrim girl's diary, to a traumatised child talking to a software program; from Alan Turing's conviction in the 1950s, to a genius imprisoned in 2040 for creating illegally lifelike dolls: all these lives have shaped and changed a single artificial intelligence - MARY3. In Speak she tells you their story, and her own. It is the last story she will ever tell, spoken both in celebration and in warning. When machines learn to speak, who decides what it means to be human? 'TRANSFIXING' New York Times 'BRILLIANT' Huffington Post 'INCREDIBLE' Buzzfeed 'HYPNOTIC' Guardian 'A MASTERPIECE' NPR

'Brilliant . . . Hall has shaped a richly imagined, tremendously moving fictional work. Its genius is not to explain but to embody the science and politics that shaped Oppenheimer's life . . .The resulting quantum portrait feels both true and dazzlingly unfamiliar' New York Times J. Robert Oppenheimer - the father of the atomic bomb - was a brilliant scientist, a champion of liberal causes, and a complex and often contradictory character. In Louisa Hall's kaleidoscopic novel, seven fictional characters bear witness to his life. From a secret service agent who tailed him in San Francisco, to the young lover of a colleague in Los Alamos, to a woman fleeing McCarthyism who knew him on St. John, as these men and women fall into the orbit of a brilliant but mercurial mind at work, all consider his complicated legacy while also uncovering deep and often unsettling truths about their own lives. In Trinity, Louisa Hall has crafted an explosive story about what it means to truly know someone, and about the secrets we keep from the world and from ourselves.

For more than thirty years, William Adair's faith in life was based on two indisputable principles: the exceptional good looks and athletic talents of his three daughters and the historical status of his family in their Philadelphia suburb. After suffering a stroke, William wakes up in his hospital bed to realize that his world has collapsed: his children are less extraordinary than he had remembered and his family's notable history has been forgotten.
William's daughters--all tennis champions in their youth--are in decline. Having lost their father's pride, the three sisters struggle to define themselves. Their mother, whose memory has started to fade, is unable to help them recall the talented girls they used to be.
For three generations, a carriage house has stood on the Adair property. Built by William's grandfather, it was William's childhood refuge and a sign of the family's prominence. Now held captive by a neighbor due to a zoning error, the house has decayed beyond recognition and may even be condemned.
Rallying to save their father, Diana, Elizabeth, and Isabelle take on the battle for the carriage house that once stood as a symbol of their place in the world. Overcoming misunderstandings and betrayals both deep in the past and painfully new, each of the Adairs ultimately finds a place of forgiveness. "The Carriage House "is a moving, beautifully wrought debut novel about the complex bonds of siblings, about rebuilding lost lives, and about the saving grace of love.