* * WINNER OF THE BOOKER PRIZE 2024 * *

Life on our planet as you've never seen it before

A team of astronauts in the International Space Station collect meteorological data, conduct scientific experiments and test the limits of the human body. But mostly they observe. Together they watch their silent blue planet, circling it sixteen times, spinning past continents and cycling through seasons, taking in glaciers and deserts, the peaks of mountains and the swells of oceans. Endless shows of spectacular beauty witnessed in a single day.

Yet although separated from the world they cannot escape its constant pull. News reaches them of the death of a mother, and with it comes thoughts of returning home. They look on as a typhoon gathers over an island and people they love, in awe of its magnificence and fearful of its destruction.

The fragility of human life fills their conversations, their fears, their dreams. So far from earth, they have never felt more part - or protective - of it. They begin to ask, what is life without earth? What is earth without humanity?

A slender novel of epic power, Orbital deftly snapshots one day in the lives of six women and men hurtling through space--not towards the moon or the vast unknown, but around our planet. Selected for one of the last space station missions of its kind before the program is dismantled, these astronauts and cosmonauts--from America, Russia, Italy, Britain, and Japan--have left their lives behind to travel at a speed of over seventeen thousand miles an hour as the earth reels below. We glimpse moments of their earthly lives through brief communications with family, their photos and talismans; we watch them whip up dehydrated meals, float in gravity-free sleep, and exercise in regimented routines to prevent atrophying muscles; we witness them form bonds that will stand between them and utter solitude. Most of all, we are with them as they behold and record their silent blue planet. Their experiences of sixteen sunrises and sunsets and the bright, blinking constellations of the galaxy are at once breathtakingly awesome and surprisingly intimate. So are the marks of civilization far below, encrusted on the planet on which we live. Profound, contemplative and gorgeous, Orbital is an eloquent meditation on space and a moving elegy to our humanity, environment, and planet.

This genre-defying debut memoir by Betty Trask Prize winner, Samantha Harvey, weaves a tapestry of confessional anguish, flash fiction, cathartic poetry, and feverish observations on politics and psychology in a transcendent search for reality and truth. In 2016, Samantha Harvey began to lose sleep. She tried everything to appease her wakefulness: from medication to therapy, changes in her diet to changes in her living arrangements. Nothing seemed to help. The Shapeless Unease is Harvey's darkly funny and deeply intelligent anatomy of her insomnia, an immersive interior monologue of a year without one of the most basic human needs. Original and profound, and narrated with a lucid breathlessness, this is a startlingly insightful exploration of memory, writing and influence, death and the will to survive, from "this generation's Virginia Woolf" (Telegraph).

**SHORTLISTED FOR THE WALTER SCOTT PRIZE 2019** 15th century Oakham, in Somerset; a tiny village cut off by a big river with no bridge. When a man is swept away by the river in the early hours of Shrove Saturday, an explanation has to be found: accident, suicide or murder? The village priest, John Reve, is privy to many secrets in his role as confessor. But will he be able to unravel what happened to the victim, Thomas Newman, the wealthiest, most capable and industrious man in the village? And what will happen if he can't? Moving back in time towards the moment of Thomas Newman's death, the story is related by Reve - an extraordinary creation, a patient shepherd to his wayward flock, and a man with secrets of his own to keep. Through his eyes, and his indelible voice, Harvey creates a medieval world entirely tangible in its immediacy.

**Featured on BBC Radio 4's A Good Read** 'A profound meditation on language and loss and time, and on how we construct ourselves through stories. And it's painful. And it's beautiful. And I love it.' NATHAN FLIER Samantha Harvey's insomnia arrived, seemingly, from nowhere; for a year she has spent her nights chasing sleep that rarely comes. She's tried everything to appease it. Nothing is helping. What happens when one of the basic human needs goes unmet? For Samantha Harvey, extreme sleep deprivation resulted in a raw clarity about life itself. Original and profound, The Shapeless Unease is a startlingly insightful exploration of memory, writing and influence, death and grief, and the will to survive. 'A delight to read... ineffably rewarding' OBSERVER 'Easily one of the truest and best books I've read about what it's like to be alive now, in this country' MAX PORTER 'How can a book about a sensual deprivation be so sensuous and so full? ... it seemed to give my sleep resonance and poetry. What a beautiful book.' TESSA HADLEY

Shortlisted for the 2015 James Tait Black Memorial Prize Longlisted for the 2015 Baileys Women's Prize for Fiction Longlisted for the 2015 Jerwood Prize In the middle of a winter's night, a woman wraps herself in a blanket, picks up a pen and starts writing to an estranged friend. In answer to a question you asked a long time ago, she writes, and so begins a letter that calls up a shared past both women have preferred to forget. Without knowing if her friend, Butterfly, is even alive or dead, she writes night after night - a letter of friendship that turns into something more revealing and recriminating. By turns a belated outlet of rage, an act of self-defence, and an offering of forgiveness, the letter revisits a betrayal that happened a decade and a half before, and dissects what is left of a friendship caught between the forces of hatred and love.

An Orange Prize Finalist
A Man Booker Prize Nominee
Winner of the 2009 Betty Trask Prize
A Guardian First Book Award Nominee
Jake is in the tailspin of old age. His wife has passed away, his son is in prison, and now he is about to lose his past to Alzheimer's. As the disease takes hold of him, Jake's memories become increasingly unreliable. What happened to his daughter? Is she alive, or long dead? Why is his son imprisoned? And why can't he shake the memory of a yellow dress and one lonely, echoing gunshot?
Like Marilynne Robinson's "Gilead, The Wilderness "holds us in its grip from the first sentence to the last" "with the sheer beauty of its language and its ruminations on love and loss.

It's Jake's birthday. He is sitting in a small plane, being flown over the landscape that has been the backdrop to his life - his childhood, his marriage, his work, his passions. Now he is in his mid-sixties, and he isn't quite the man he used to be. He has lost his wife, his son is in prison, and he is about to lose his past. Jake has Alzheimer's.
As the disease takes hold of him, Jake struggles to hold on to his personal story, to his memories and identity, but they become increasingly elusive and unreliable. What happened to his daughter? Is she alive, or long dead? And why exactly is his son in prison? What went so wrong in his life? There was a cherry tree once, and a yellow dress, but what exactly do they mean? As Jake fights the inevitable dying of the light, the key events of his life keep changing as he tries to grasp them, and what until recently seemed solid fact is melting into surreal dreams or nightmarish imaginings. Is there anything he'll be able to salvage from the wreckage? Beauty, perhaps, the memory of love, or nothing at all?
From the first sentence to the last, "The Wilderness" holds us in its grip. This is writing of extraordinary power and beauty.

Leonard is alone and rootless, returning to London after his father's death. He moves in with his distant brother William and his family, hoping to renew their friendship but learning to drop his expectations of brotherhood. William is a former lecturer and activist who now runs informal meetings with ex-students. He is defiantly unworldly and forever questioning. When a young student follows William's arguments to a shocking conclusion, it appears William has already set his own fate in motion. Against a backdrop of tabloid frenzy, Leonard can only watch as William embraces the danger in the only way he knows how, which threatens to consume not only himself, but his entire family.