Muriel Spark

A.L. Kennedy

Memento Mori

Now That You're Back

Stories

Indelible Acts

On Writing features missives from A. L. Kennedy's hugely popular Guardian blog. Readers and aspiring writers will have almost everything they need to know about the complexities of researching, writing, and publishing fiction from one of the funniest and most alert of our contemporary authors. After six novels, five story collections and two books of non-fiction, and countless international prizes, A.L. Kennedy certainly has the authority to talk about the craft of writing books – it’s just a wonder she’s found the time. On Writing features writing from the authorial front line – urgent and vivid, full of the excitement, fury and frustration of trying to make thousands of words into a publishable book. At the core of On Writing is the hugely popular blog that Kennedy writes for the Guardian – and we follow her during a three-year period when she finished one collection of stories and started another, and wrote a novel in between. Alongside the blogs are brilliant essays on character, voice, writers’ workshops, and writers’ health and the book ends with the transcript of Kennedy’s celebrated one-person show about writing and language that she has performed round the world to huge acclaim. Read together, all these pieces add up to the most intimate master-class imaginable from one of the finest — and most humane — writers in our language.

On Writing

Mary Margaret Hamilton was educated in Scotland. She was born there too. These may not have been the best possible options, but they were the only ones on offer at the time. Although her father did his best, her knowledge of life is perhaps a little incomplete. Margaret knows the best way to look at the moon, how to wake on time and how to breathe fire. Now she must learn how to live. A. L. Kennedy's absorbing, moving and gently political first novel dissects the intricate difficulties of human relationships, from Margaret's passionate attachment to her father and her more problematic involvement with Colin, her lover, to the wider social relations between pupil and teacher, employer and employee, individual and state.

Looking For The Possible Dance

LONGLISTED FOR THE MAN BOOKER PRIZE Jon is 59 and divorced: a senior civil servant in Westminster who hates many of his colleagues and loathes his work, he is a good man in a bad world. Meg is a bankrupt accountant – two words you don’t want in the same sentence, or anywhere near your CV. Living on Telegraph Hill, she can see London unfurl below her. Somewhere out there is safety. As Jon and Meg navigate the sweet and serious heart of London – passing through 24 hours that will change them both for ever – they tell a very unusual, unbearably moving love story.

Longlisted for the Man Booker Prize

Serious Sweet

The dazzling new collection from the Costa Prize-winning author of Day and The Blue Book. She doesn’t ever lie to him unless it’s for the best. A husband and wife wait for a train as their relationship unspools silently around them. A woman contemplates the idea of her lover dying as she queues in a bank. An almost impossibly uncomfortably lunch culminates in a passionate kiss. In this dazzling collection of stories lies the battlefield of the heart, where characters who have suffered somehow emerge – haltingly, awkwardly – into the astonishment of intimacy.

All the Rage

Charming lessons in life, death and kindness . . . Hugely moving' Observer This is the story of Mary, a young girl born in a beautiful city full of rose gardens and fluttering kites. When she is still very small, Mary meets Lanmo, a shining golden snake, who becomes her very best friend. The snake visits Mary many times, he sees her grow and her city change, as bombs drop and war creeps in. Lanmo wonders, can having a friend possibly be worth the pain of knowing you will lose them?

The Little Snake

Isn’t life terrible? Isn’t it all going to end in tears? Won’t it be good to just give up and let something else run my mind, my life? Something distinctly odd is going on in Arbroath. It could be to do with golfers being dragged down into the bunkers at the Fetch Brothers’ Golf Spa Hotel, never to be seen again. It might be related to the strange twin grandchildren of the equally strange Mrs Fetch – owner of the hotel and fascinated with octopuses. It could be the fact that people in the surrounding area suddenly know what others are thinking, without anyone saying a word. Whatever it is, the Doctor is most at home when faced with the distinctly odd. With the help of Fetch Brothers' Junior Receptionist Bryony, he’ll get to the bottom of things. Just so long as he does so in time to save Bryony from quite literally losing her mind, and the entire world from destruction. Because something huge, ancient and alien lies hidden beneath the ground – and it’s starting to wake up...

Doctor Who: The Drosten’s Curse

Winston Churchill hated The Life and Death of Colonel Blimp, and tried to have it banned when it was released in 1943. But Martin Scorsese, a champion of directors Michael Powell and Emeric Pressburger, considers it a masterpiece. It's a film about desires repressed in favour of worthless and unsatisfying ideals. And it's a film about how England dreamt of itself as a nation and how this dream disguised inadequacy and brutality in the clothes of honour. A. L. Kennedy, writing as a Scot, is fascinated by the nationalism which The Life and Death of Colonel Blimp explores. She finds human worth in the film and the pathos of stifled emotions and unfulfilled lives. 'If he is unaware of his passions, ' she writes of Clive Candy, the film's central figure, 'this is because his pains have become habitual, a part of personality, and because he was never taught a language that could speak of emotions like pain.'. This edition includes a foreword by the author exploring the film's continuing relevance in an age of Brexit, when English and British national identity are deeply contested concepts.

The Life and Death of Colonel Blimp

Bullfighting - the ultimate spectator sport. Acclaimed novelist A. L. Kennedy unpeels the layers and explains the mechanics before dissecting them with surgical precision. Beyond the theatre, the costume and the well-worn plot she focuses on the fact that a man faces his death while a crowd looks on. The result is a startling confrontation with her own, and mankind's, mortality.

On Bullfighting

The twelve stories in Indelible Acts are variations on a theme of longing - the unassuagable human need for contact, for completion, for that most fugitive gift of all: reciprocal love. Its characters' lives are thwarted, dashed, impassioned, each in their own way immolated by hope. A queue outside a cheese shop leads to a thrilling infidelity; a crematorium funeral exposes a love gone sour; a foreign hotel room becomes a diorama of despair as physical sickness becomes a metaphor for incurable grief. In the title story, two lovers confront their lusts amid the ruins of Rome; in 'A Bad Son' a young boy from a damaged home searches for some kind of peace in the newly fallen snow.

Alfred Day wanted his war. In its turmoil he found his proper purpose as the tail-gunner in a Lancaster bomber; he found the wild, dark fellowship of his crew, and - most extraordinary of all - he found Joyce, a woman to love. But that's all gone now - the war took it away. Maybe it took him, too. Now in 1949, employed as an extra in a war film that echoes his real experience, Day begins to recall what he would rather forget...

After six novels, five story collections and two books of non-fiction, and countless international prizes, A.L. Kennedy certainly has the authority to talk about the craft of writing books – it’s just a wonder she’s found the time. These are missives from the authorial front line – urgent and vivid, full of the excitement, fury and frustration of trying to make thousands of words into a publishable book. At the core of On Writing is the hugely popular blog that Kennedy writes for the Guardian – and we follow her during a three-year period when she finished one collection of stories and started another, and wrote a novel in between. Readers and aspiring writers will have almost everything they need to know about the complexities of researching, writing and publishing fiction, but they will be receiving this wisdom conversationally, from one of the funniest and most alert of our contemporary authors. Alongside the blogs are brilliant essays on character, voice, writers’ workshops and writers’ health and the book ends with the transcript of Kennedy’s celebrated one-person show about writing and language that she has performed round the world to huge acclaim. Read together, all these pieces add up to the most intimate master-class imaginable from one of the finest – and most humane – writers in our language.

Elizabeth Barber is crossing the Atlantic by liner with her perfectly adequate boyfriend, Derek, who might be planning to propose. In fleeing the UK — temporarily — Elizabeth may also be in flight from her past and the charismatic Arthur, once her partner in what she came to see as a series of crimes. Together they acted as fake mediums, perfecting the arcane skills practiced by effective frauds. Elizabeth finally rejected what once seemed an intoxicating game. Arthur continued his search for the right way to do wrong. He now subsidizes free closure for the traumatized and dispossessed by preying on the super-rich. The pair still meet occasionally, for weekends of sexual oblivion, but their affection lacerates as much as it consoles. Elizabeth hadn't, however, expected the other man on the boat. As her voyage progresses, Elizabeth's past is revealed, and codes slowly form and break as communication deepens. It's time for her to discover who are the true deceivers and who are the truly deceived. But is the book itself — a fiction which may not always be lying — deceiving the reader? Offering illusions and false trails, magical numbers and redemptive humour, this is a novel about what happens when we are misled and when we are true: an extraordinarily intricate and intimate journey into our minds and hearts undertaken by a writer of great gifts — a maker of wonders.

The Blue Book

Almost forty and with nothing to show for it, Hannah Luckraft is starting to notice that her lifestyle is not entirely sustainable: her subconscious is turning against her, her soul is a little unwell. Her family is wounded, her friends are odd, her body is not as reliable as it once was and her drinking is frankly out of hand. Robert, a dissolute dentist, appears to offer a love she can understand, but he may only be one more symptom of the problem she must cure. From the north-east of Scotland to Dublin, from London to Montreal, to Budapest and onwards, Hannah travels in search of the ultimate altered state: the one where she can be happy - her paradise. Paradise is a compelling examination of failure that is also a comic triumph, a novel of dark extremes that is full of the most ravishing lyrical beauty.

Paradise

Romesh Gunesekera

Packed with tips from bestselling and prize-winning authors, Novel Writing: A Writers' and Artists' Companion will give you all the practical advice you need to write and publish your novel. PART 1 provides an introduction to the forms and history of the novel and helps you plan and research your masterpiece, develop characters and compelling narratives and your own authorial voice. PART 2 contains guest contributions from Philip Pullman, Louise Doughty, Glenn Patterson, Jeanette Winterson, Jonathan Franzen, Stevie Davies, Doris Lessing, Tash Aw, Elif Shafak, Anne Enright, Tim Pears, Anita Desai, Tim Lott, Amit Chaudhuri, Andrea Levy, Alan Hollinghurst, Bernardo Atxaga, Hanan Al-Shaykh, Michèle Roberts, Joan Brady, Lynn Freed, Evelyn Toynton as well as a number of the 2013 list of the Best of Young British Novelists including Kamila Shamsie, Tamima Anam, Naomi Alderman, Ned Beauman, Jenni Fagan and Joanna Kavenna. PART 3 offers practical advice on collaborative writing, overcoming writer's block, editing and rewriting and finding an agent and a publisher for your work. Written by two multi-award winning authors, this is a comprehensive manual for established and aspiring novelists alike.

A Writers' and Artists' Companion

Novel Writing

In 1939, Alfred Day had wanted war. And when he got it, he found purpose in its turmoil: he found his proper role as tail-gunner in a Lancaster bomber; he found the wild, dark fellowship of his crew; and -- most extraordinary of all -- he found Joyce, a woman to love. But now, that's all gone: the war took it away. And maybe the war has taken him away, too. Before Hitler and the bombs, Alfred was a boy in Staffordshire, helpless to defend his mother and resist his abusive father. The RAF gave him order, skills, another family, a way to be a man. It taught him how to burn through lifetimes on night ops and brief, sweet leaves, surviving. But it didn't prepare him for capture, for prison camp and chaos as the war wound down. And it certainly didn't prepare him for an empty peace. So, in 1949, Alfred winds back time to see where he lost himself as an extra in a POW film -- and begins to do what he's never dared -- to remember. In Day, A. L. Kennedy has crafted a superb novel about the brutal simplicities of war and the complexities of human emotion. Above all, Day is wonderful storytelling: the freight of history and humanity carried effortlessly by the beauty of the writing.

The stories collected in Original Bliss are concerned, appropriately, with the complexities of sex and the lack of it. In the long novella that gives the book its title, Helen Brindle thinks she has lost God - but it is simply love that she's missing. She can't find it at home, with the violent, deadly Mr Brindle, but will she find it in Stuttgart when she meets the enigmatic Edward E. Gluck, with his Process and his paraphernalia? And what happens when her father confessor starts to confess? A beautiful and terrifying examination of passion and pornography, of the aching need for completion and healing.

Original Bliss

Exposing and exploring the sinuous undercurrents of violence, anguish and love, A.L. Kennedy examines the nature of the individual, both in isolation and society, as characters define and deny their chosen identities. While showing us the unlikeliness of intimacy and the impossibility of communication, Kennedy also reveals the subversive liberation of impotence, the humour of discomfort as human beings chafe together, the crazed claustrophobia of the family adn the wildly funny results of an eccentricity unleashed.

A.L. Kennedy

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