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Usman Khan was convicted of terrorism-related offences at age 20, and sent to high-security prison. He was released eight years later, and allowed to travel to London for one day, to attend an event marking the fifth anniversary of a prison education programme he participated in. On 29 November 2019, he sat with others at Fishmongers' Hall, some of whom he knew. Then he went to the bathroom to retrieve the things he had hidden there: a fake bomb vest and two knives, which he taped to his wrists. That day, he killed two people: Saskia Jones and Jack Merritt. Preti Taneja taught fiction writing in prison for three years. Merritt oversaw her program; Khan was one of her students. 'It is the imm...
Jivan Singh, bastard son, returns to Delhi after fifteen years of exile to find a city on fire with protests and in the grip of drought. On the same day, Devraj, father of Jivan's childhood playmates, founder of India's most important Company, announces his retirement, demanding daughterly love in exchange for shares. Sita, his youngest child, refuses to play, turning her back on the marriage he has arranged. Her sisters Gargi and Radha must take over the Company and cement their father's legacy. As they struggle to make their names, a family and an empire begin to unravel. We That Are Young is Shakespeare's King Lear told as a devastating commentary on contemporary India. From Delhi mansions to luxury hotels, from city slums to the streets of Kashmir, from palace to wayside, Preti Taneja recasts an old tale in fresh, eviscerating prose that bursts with energy and fierce, beautifully measured rage. This is the story of a country that, like the old king, is descending into madness.
A powerful performance text that illuminates incidents of anti-immigrant violence in contemporary Germany. Between 1998 and 2007 a series of killings in Germany, disdainfully styled "doner murders" by the media, were attributed by German police to internecine rivalries among immigrants. The victims included eight citizens of Turkish origin, a Greek citizen, and a German policewoman. Not until 2011 did the German public learn not only that the police had ignored signs pointing to the real perpetrators, a neo-Nazi group called the National Socialist Underground, but also that important files, possibly containing evidence implicating state agencies, had disappeared from the archives of Federal ...
'One of the most gripping and powerful books I've ever read; I feel so represented as a queer, brown woman.' — Nikita Gill An innovative hybrid of auto-fiction, crime fiction and critical race memoir, this multi-layered yet compulsively readable novel is inspired by the author´s real and extended experience of serious racial harassment, as well as exploring her search for justice and for love“/P> **Shortlisted for the Polari Prize 2022** **Longlisted for the Desmond Elliott Prize 2022** Tesya has reasons to feel hopeful after leaving her last job, where she was subjected to a series of anonymous hate crimes. Now she is back home in London to start a new lecturing position, and has begun...
'Niven Govinden's Diary of a Film, his sixth novel, is also his best yet. Smart, sexy and cinematic (in many senses), it is a love letter to Italy and to film' Observer 'Immersive . . . This is a wise and skilfully controlled novel that can be read in an afternoon, but which radiates in the mind for much longer' Financial Times 'A beautiful, poignant novel of love and longing' Telegraph An auteur, together with his lead actors, is at a prestigious European festival to premiere his latest film. Alone one morning at a backstreet café, he strikes up a conversation with a local woman who takes him on a walk to uncover the city's secrets, historic and personal. As the walk unwinds, a story of love and tragedy emerges, and he begins to see the chance meeting as fate. He is entranced, wholly clear in his mind: her story must surely form the basis for his next film. This is a novel about cinema, flâneurs, and queer love - it is about the sometimes troubled, sometimes ecstatic creative process, and the toll it takes on its makers. But it is also a novel about stories, and the ongoing question of who has the right to tell them.
On a patch of Sri Lanka’s exquisite southern coast stands the Villa Hibiscus. It is Padma’s home. The owner of the villa, Gerhardt, is an elderly Austrian architect to whom Padma was taken when young by Sunny, her scheming father. He had hoped to use his attractive child to entice the wealthy new foreigner in the area. Gerhardt, in turn, adopted Padma, paying Sunny to stay away until she would be grown up, when Gerhardt expects to have sent Padma to university, far away. But Padma fails her exams and is lonely in the city, gladly returning to her beloved old home by the sea. With Gerhardt’s help, she creates a guest house at the villa. Soon, guests start to arrive, opening new vistas for Padma through their friendship and love. This is when Sunny appears, ready to reclaim his daughter ... A captivating novel about the meaning of home and family, love and loss, Beautiful Place marks the arrival of a dazzling new voice.
SHORTLISTED FOR THE DESMOND ELLIOTT PRIZE 2020 'A magnificent novel, full of wit, warmth and tenderness' Andrew McMillan 'Smart, serious and entertaining' Bernardine Evaristo How do you begin to find yourself when you only know half of who you are? As Nnenna Maloney approaches womanhood she longs to connect with her Igbo-Nigerian culture. Her once close and tender relationship with her mother, Joanie, becomes strained as Nnenna begins to ask probing questions about her father, who Joanie refuses to discuss. Nnenna is asking big questions of how to 'be' when she doesn't know the whole of who she is. Meanwhile, Joanie wonders how to love when she has never truly been loved. Their lives are fil...
Published for the first time in 1971, Forty Lost Years tells the story of Laura Vidal, a woman who becomes ahigh-fashion dressmaker to the rich women of Barcelona during Franco's dictatorship.
This is a book of failure and mistakes; it begins with what is stolen from us and proposes only an invitation to imagine. In these playful written experiments, Lola Olufemi navigates the space between what is and what could be. Weaving together fragmentary reflections in prose and poetry, this is an exploration of the possibility of living differently, grounded in black feminist scholarship and political organising. Olufemi shows that the horizon is not an immaterial state we gesture toward. Instead, propelled by the motion of thinking against and beyond, we must invent the future now and never let go of the otherwise.