National Bestseller
A New York Times Bestseller
A New York Times Editors' Choice

"[A] superb story of wartime espionage. . . . Hilary Mantel once said of Atkinson's ground-breaking first novel, Behind the Scenes at the Museum, that she had a 'game-plan more sophisticated than Dickens,' and that skill is more than evident in this latest offering. . . . Remarkable. . . . The sheer bravura of Atkinson's storytelling is such that you will find it impossible not to want to revisit those clues so cleverly placed, as you shake your head in disbelief at how effortlessly you have been taken in." —The Times Literary Supplement (TLS)

"[Transcription] never loses its sense of absurdity of human beings even in their most tragic or noble moments. . . . How vehemently most novelists will wish to produce a masterpiece as good." —The Daily Telegraph (UK)

"[Transcription] is a major event. . . . Atkinson loves her research, but she doesn't need much help concocting original stories that resemble no one else's and take the breath away." —The New York Times

"Atkinson is brilliant. Her characters are brilliant. Her command of the back-and-forth narrative, the un-fixedness of memory, the weight that guilt accrues over time and how we carry it is remarkable. . . . Everything Atkinson does subverts the classic model of the spy story. . . . It's that grunginess, that groundedness, that attention to the tiny, personal, low-stakes details . . . that elevates Transcription." —NPR

"No other contemporary novelist has such supreme mastery of that sweet spot between high and low, literary and compulsively readable as Kate Atkinson. . . . I can't think of another serious novelist who makes you laugh so often or so gratefully. . . . Brimming with dancing dark wit that reminds you how deeply satisfying good fiction can be." —Allison Pearson, The Daily Telegraph (UK)

"Atkinson dissolves the choices that bedevil us: between big plots and wry, acute, noticing sentences; between genre and literary fiction; between the wildly popular and the wildly nuanced." —USA Today

"Ambitious and cerebral." —Toronto Star

"Atkinson's wry style imbues the world of Transcription with moments of brisk cheer, as if Ian Fleming had been cross-pollinated with Barbara Pym. . . . [Transcription is] a testament to Atkinson's inventiveness as a storyteller, as well as to her powers for creating characters too real for comfort." —The Washington Post

"No matter the genre, Atkinson displays more wit and word play, more delight in the fecundity of the English language, than just about any contemporary novelist. . . . No matter how distractingly thrilling her plots are, we always sense a keen, and essentially verbal, intelligence behind them." —The Boston Globe

"Transcription, while sometimes fraught and tense, is more often shrewdly funny. . . . Atkinson runs around her spy novel, seeking out the genre's inflated pockets of self-importance and poking them with her sharp little needle." —Slate

"If you're still obsessed with Kate Atkinson's Life After Life, you're going to fall head over heels for Transcription." ―POPSUGAR

"This is a novel about identity in which no one and nothing is exactly as they seem. . . . Atkinson is clearly having fun. . . . What elevates her fiction above mere playfulness is the emotional integrity of her characters. . . . Atkinson always puts on a damn fine show." —The Guardian (UK)

"I loved Kate Atkinson's Transcription―you don't know if it's a farce about spies, or a spy story about farce." ―Hanya Yanagihara, author of A Little Life

International IMPAC Dublin Literary Award 2020, Long-listed
OLA Evergreen Award 2019, Nominated
Rogers Writers' Trust Fiction Prize 2018, Short-listed

SHORTLISTED FOR THE 2018 ROGERS WRITERS' TRUST FICTION PRIZE

LONGLISTED FOR THE 2020 INTERNATIONAL DUBLIN LITERARY AWARD

“Davidson makes beautifully clear how the ghoulish tales we feared when we were young can’t compare to the blood-bathed teeth we eventually encounter as adults. The Saturday Night Ghost Club is a tale for those who like their Stranger Things spiked, Stand By Me charred, and who are battered enough yet still brave enough to revisit that moment when made-up horrors finally come to root in a world beyond invention. A novel that both stabs and breaks your heart.” —Mark Z. Danielewski, bestselling author of House of Leaves

“A moving, delightful, thrillingly unexpected coming-of-age story about the irresistible collision of childhood’s dark wonders and adulthood’s haunting mysteries.” —Elan Mastai, author of All Our Wrong Todays

“A nostalgia-driven coming-of-age thriller in the vein of Netflix’s hit series Stranger Things and golden-age 1980s Stephen King. Davidson writes so convincingly from a twelve-year-old boy’s perspective—vividly capturing those first pangs of love and the torture of being bullied—that it takes the puzzle of unravelling Uncle C’s troubled mind and the scalpel-sharp sections in which adult Jake describes his work as a brain surgeon to remind readers that this is, in fact, a book about the disquieting nature of memory and the stealthy ways the past can haunt someone. For sheer storytelling prowess, and the chops to scare readers screwy with monsters both real and of our own imagining, the label of Canada’s Stephen King . . . belongs to Craig Davidson, claws down.” —Stacey Madden, Quill & Quire

“A coming-of-age novel, marking the time when you realize there’s more going on in life than meets the eye. In Saturday Night, ghost stories are used to explore how resilient we are, how our mind helps us to survive, and how, sometimes, our memories help us take the horrible things that happen to us and weave them into a life that still has hope. It’s an examination, like most good literature is, of how we live our lives.” —Deborah Dundas, Toronto Star

Praise for Craig Davidson:

“Craig Davidson is one of this country’s great kinetic writers.” —Steven Beattie, The Globe and Mail

“Davidson’s remarkable storytelling gifts are several . . . [He] possesses a stealthy capacity for pace and plot exercised in a cinematic array of places . . . Superb, thoughtful and thoroughly entertaining. Davidson is a seriously talented writer.” —Noah Richler, National Post

“Davidson balances his headlong plotting with fresh, poetic language . . . bracing and poignant.” —Maclean’s

“I can’t think of another prose stylist out there as visceral and kinetic as Davidson . . . Utterly compelling.” —The Independent

Governor General's Literary Award - Translation 2020, Short-listed
Governor General's Literary Awards - Fiction 2018, Short-listed
Rogers Writers' Trust Fiction Prize 2018, Short-listed
Scotiabank Giller Prize 2018, Long-listed
The Quebec Writers' Federation Literary Award - Paragraphe Hugh MacLennan Prize for Fiction 2018, Short-listed

FINALIST FOR THE 2018 GOVERNOR GENERAL'S LITERARY AWARD FOR FICTION

SHORTLISTED FOR THE 2018 ROGERS WRITERS' TRUST FICTION PRIZE

SHORTLISTED FOR THE 2018 QUEBEC WRITERS' FEDERATION PARAGRAPHE HUGH MacLENNAN PRIZE FOR FICTION

LONGLISTED FOR THE 2018 SCOTIABANK GILLER PRIZE

“[A] fierce howl into the chaotic and beautiful minefield of existence.” —Toronto Star

"[Beirut Hellfire Society] draws on Hage’s antic, many-voiced gifts to make a chronicle of war and unrelenting death into a provocative entertainment." ―The New York Times

“Utterly original . . . enthralling.” —National Post

"Hallucinatory.… [A] faceted meditation on existentialism." ―Wall Street Journal

“Wild, viscerally exciting and often bleakly funny.” —The Vancouver Sun

"[A] playfully scabrous novel that draws nearly as much from Nabokov as from Lebanon’s grisly civil war. . . . The writing is bravura, the humor, stygian and the thrill of expression, triumphant." ―NPR

“An elegantly beautiful novel, full of . . . gem-like sentences.” —Maclean’s

"[A] hell of a story. . . . Pavlov is an irresistible lead: stony, well-read, tightly controlled, with a deep well of sadness. Call him Harry Bosch but in Lebanon." ―Los Angeles Times

“For a novel that involves so much death and sadness, it is vibrant, very operatic and funny at times. . . . [A] very important book and a book very much about our times.” —CBC Radio

"Potent.… Hage’s novel is a brisk, surreal, and often comic plunge into surviving the absurd nihilism of war." ―Publishers Weekly

“Place: Beirut. Time: 1970s. But Rawi Hage’s Beirut Hellfire Society is, actually, deeply set in any place consumed by killing and death during any time in human history. Fire is Beirut Hellfire Society’s elemental core—inherited fires of grief and sorrow, justice and love. Fantastically framed, its envisioned images and scenes burn with a mythic intensity not easily forgotten. Truly a masterpiece.” —Lawrence Joseph (author of So Where Are We?: Poems)

“Beirut Hellfire Society, if it is even possible, raises Hage’s game to sublime new heights in a moving, ultimately devastating treatise on war, death, morality, and sanity. Populating this world with a variety of misfits, rogues, lovers, and maniacs, Hage, like all great writers, approaches his subject from a fresh perspective, presenting the consequences of war in a fashion often breathtaking in its boldness. This is literary warfare via the unflinching realism of Erich Maria Remarque, the paranoia of Franz Kafka, and the absurdity of Joseph Heller and Kurt Vonnegut Jr. Beirut Hellfire Society is . . . a stripping-back of the nature of story, and its episodic structure burns with its own fuel. The possibility of death lurks behind every utterance. Yet the novel as a whole is not one of bleakness but joy.” —2018 QWF Hugh MacLennan Prize for Fiction jury citation

“A novel of tragic beauty and dark humour that is comfortable with contradiction and charged with probing philosophical insights and the luminosity of Arabic poetry. It’s a timeless story of the outcast whose act of witness chronicles the world he observes. It is also a testament to love for life. Hage reminds us of what it takes for a novel to endure on the level of both form and content.” —Quill & Quire (starred review)

Amazon Canada First Novel Award 2019, Short-listed

SHORTLISTED FOR THE 2019 AMAZON CANADA FIRST NOVEL AWARD

“Like all good science fiction, The Amateurs ably carries the weight of analogy: the grand themes of technology and what we’ve done to our planet and ourselves.” —Toronto Star

“Harmer’s description of the effects of the changed world, and how these characters perceive it, resonates deeply. . . . It’s a metaphorically rich concept, and Harmer keeps a solid balance between the ambiguity and the world-building. . . . This novel weds a high concept to an abundance of heart; like the mysterious passages in it, it’s hard to shake.” —TOR.com

“Harmer takes cues from Margaret Atwood and Cormac McCarthy in this sharp debut, a cautionary tale of tech gone astray.” —Toronto Life

“In her near perfect debut novel, Liz Harmer taps into current anxieties about technology to explore themes of transcendence, post-urbanity, and survival. . . . Harmer’s prose and pacing are elegant and precise, her characters distinct and engaging. . . . The novel’s dystopian setting is fully realized . . . nearly every conceivable question about the post-port world is addressed with grace and subtlety. . . . [The Amaterus] captivates right up to its final page.” —Quill & Quire

“[A] stunningly powerful work of post-apocalyptic fiction that examines our sense of reality and deals with the ultimate questions of where we came from and where we’re headed.” —The Hamilton Spectator

“Deeply original, The Amateurs is tense and fast-paced, exploring what happens when technology and desire meet in a world that doesn’t seem so different from ours.” —This Magazine

“The Amateurs is sly and smart, unsettled and unsettling, a bold probe into our age’s grand seduction. An astonishing debut by a dazzling new voice.” —Charles Foran, author of Mordecai: The Life & Times

Scotiabank Giller Prize 2018, Short-listed

SHORTLISTED FOR THE 2018 SCOTIABANK GILLER PRIZE

“A personal story, a feminist debate, a philosophical reflection on time, genealogy and Art—these are just some of the narrative strands that Sheila Heti weaves into Motherhood, a complex and defiant exploration of contemporary womanhood. As her narrator interrogates the spaces between motherhood and childlessness, other paths, other choices, emerge, including the possibilities of fiction itself. In her playful but precise prose, Heti turns interiority into an expansive landscape with life-altering implications for her narrator and anyone with an interest in the paradoxes of choice and the randomness of free will.” —2018 Scotiabank Giller Prize jury citation

“Here it finally is. A book for all of you who are considering having a baby, who had a baby, who didn’t have a baby, who didn’t want a baby, who don’t know what they want but the clock is ticking anyway. This topic is finally tackled as if it were the most important decision in your life. Because, um. How lucky are we that one of our foremost thinkers took this upon herself, for years, in real time, wrestling every day and living to tell. So f***ing ready to live in the world this book will help make. Read and discuss, discuss, discuss.” ―Miranda July, author of The First Bad Man

“A provocative, creative, and triumphant work of philosophical feminist fiction . . . Heti writes with courage, curiosity, and uncommon truth.” ―Booklist (starred review)

“This lively, exhilaratingly smart, and deliberately, appropriately frustrating affair asks difficult questions about women’s responsibilities and desires, and society’s expectations.” ―Publishers Weekly (starred review)

“An emotionally complex novel about motherhood that isn’t about children. An intricately constructed book based on games of chance. This feels new.” ―Jenny Offill, author of Dept. of Speculation

“This inquiry into the modern woman’s moral, social and psychological relationship to procreation is an illumination, a provocation, and a response—finally—to the new norms of femininity, formulated from the deepest reaches of female intellectual authority. It is unlike anything else I’ve read. Sheila Heti has broken new ground, both in her maturity as an artist and in the possibilities of the female discourse itself.” —Rachel Cusk, author of Outline and Transit

“I’ve never seen anyone write about the relationship between childlessness, writing, and mothers' sadnesses the way Sheila Heti does. I know Motherhood is going to mean a lot to many different people—fully as much so as if it was a human that Sheila gave birth to—though in a different and in fact incommensurate way. That’s just one of many paradoxes that are not shied away from in this courageous, necessary, visionary book.” —Elif Batuman, author of The Idiot and The Possessed

Scotiabank Giller Prize 2018, Long-listed

“True to its title, Our Homesick Songs is filled with music. The lyrical language is met with literal accordions, violins and songs passed through generations, sung by parents and children and even mermaids (a phenomenon in which they all believe). The town is filled with magic, and so is Hooper’s writing. Our Homesick Songs is a eulogy to not just a town but a lifestyle — one built on waves, and winds, and fish, and folklore.” –The New York Times

“Hooper is fascinated by the emotional territory of migration and how individual lives are shaped by forces as powerful and inexorable as the sea.” —Daily Mail

“Warm-hearted and winsomely imaginative.” —Sunday Times

“After gaining worldwide success with her first novel, Etta and Otto and Russell and James, which was translated into over two dozen languages, Albertan Emma Hooper now places the musicality of her pen in the service of a marvellous tale on the edge of a dream, borne by an imagination that is both vivid and enchanting…A novel of great beauty.”—Le Devoir

“[Emma Hooper] has recreated the demise of the fishery on the one hand, and explored the persistence of folk memory on the other. … [She] has constructed such an authentic sense of place from such a distant shore. In Hooper’s hands Newfoundland has become a kind of Narnia, or Never-Never Land, a place that we believe in.” —The Irish Times

“This story will break your heart and then warm it right up again.” —Canadian Living

“A Wes Anderson-esque tale to fall for.” —Stylist

“Elegant and musical.” —The List

“Emma Hooper has managed to create a novel containing numerous little tales that in their own way keep on giving.” —Kantar Media

“A lovely homage to Newfoundland culture, a story about storytellers told with a beguiling simplicity. Lovely and lyrical…Hooper’s work brims with mermaids and music and memory, as any good Newfoundland story must, and there is no shortage of eccentric characters.” —Toronto Star

“Shifting from present to past, the story weaves together fables, songs, mystery, and mermaids. Brave and romantic, the Connors’ journey is uniquely nostalgic and magical, illuminated with childhood wonder, ingenuity, and love.” —The Christian Science Monitor

“The prose is incredibly lyrical, with repetition and natural cadences throughout that make for a very specific rhythm. Our Homesick Songs is both a novel and an ode, reminiscent of the shifting waves of the deep and the sea shanties inspired by it.” —uInterview

“With a genius both searching and playful, Emma Hooper creates an endangered world aglow with musicality and invention, and a family who braces against loss with charm, humor, and hope. Our Homesick Songs is a brilliant and tender dream—a book with that rare ability to strike notes that are at once otherworldly, wholly human, and entirely unforgettable.” —Affinity Konar, bestselling author of Mischling

Aspen Words Literary Prize 2018, Long-listed
Barnes and Noble Discover Great New Writers Award 2017, Short-listed

Longlisted for the 2018 Aspen Words Literary Prize
Finalist for the Barnes & Noble 2017 Discover Great New Writers Award
One of Loan Stars' Librarian Picks of November 2017

Praise for The End We Start From:

“The End We Start From is about what is powerful in a time of vulnerability. Its hyper-focus on not only day-to-day survival, but the vital capacity for joy, love and comfort to thrive in a world that is falling apart is beautiful, poetic and enthralling. Environmental and economic disaster somehow feels like mere background to this narrative, and actually becomes unimportant, the reader increasingly unclear on the apocalypse at hand. A sophisticated, extreme and timely articulation of how the world can fall away via intense feelings of love and the bonds of family, this book emphasizes how those connections can offer salvation when everything feels hopeless.”
—Stacey May Fowles, The Globe and Mail

"It’s a lovely, life-affirming book, and it was a perfect way to forget about all the terrible things happening in the world. Considering the subject matter, it’s one of the most hopeful books I’ve read in a very long time."
—Mark Medley, The Globe and Mail

“The End We Start From is reminiscent of Cormac McCarthy’s The Road, in that it shares the same narrative detachment, and the same precise poetry. It is of course told from the perspective of a mother, rather than a father, and is set in a world that is only beginning to fall into chaos . . . Megan Hunter’s remarkable debut novel feels like the other half of the story.”
—Financial Times

“Megan Hunter’s entry into fiction uses spare, striking design to complement prose and create a gripping debut…the glimpses of [the] flooding world are both chilling and moving. And the voice of the narrator is so commanding it’s impossible to not pay attention to her words.”
—The Toronto Star

“A new take on the [dystopian] genre, this startling debut combines utter despair with the reality of family life . . . Megan Hunter’s prose is beautiful and insightful. Everyone who reads this will come away feeling renewed.”
—Elle (UK)

“A book whose prose is pared back to match the minimal existence it describes. Every detail feels weighted with significance…. Megan Hunter is a poet.”
—New Statesman

“The End We Start From is a stunning tale of motherhood. Megan has crafted a striking and frighteningly real story of a family fighting for survival that will make everyone stop and think about what kind of planet we are leaving behind for our children. We’re beyond thrilled to be bringing this story to life.”
—Benedict Cumberbatch

“Written in a stripped-back, detached prose that is all the more powerful for its economy, this is an uplifting celebration of the reality of motherhood in the face of terrifying global disaster.”
—Daily Mail

“A very exciting debut from a hugely talented young writer . . . [Hunter’s] beautiful prose is spare, yet able to conjure every emotion in the reader from terror to wonder. A stunning achievement.”
—The Bookseller (Editor’s Choice)

“Virginia Woolf does cli-fi . . . the beating heart of this tender and tremendous story is without doubt Hunter’s portrait of early motherhood, an all-encompassing world of its own.”
—The Independent

“You can tell that Megan Hunter is a poet: her slender, startling debut shimmers with light, even as the novel heads into dark territory . . . Tender and profound.”
—Psychologies “Book of the Month” (UK)

“Motherhood is an immersive experience and Hunter is brilliant on the urgency of it.”
—The Irish Times

“The End We Start From is beautiful, thought-provoking and most of all, hauntingly believable. It is a tale of hope at a time when the country truly needs it. A stunning debut.”
—The Aberdeen Press and Journal

“The End We Start From by Megan Hunter is a short, concentrated book — a shot of distilled story, like the pulp of a tale boiled to a thick spiced paste. The narrator gives birth to her son on the same day the barriers finally fail and London is flooded in a global warming calamity. She and her partner R — the names are boiled down too, the bare indication of character — try to find safety. With passages from mythology interspersed with its imagined future, the book is engrossing, compelling and finally hopeful.”
—Naomi Alderman, author of The Power (winner of the 2017 Baileys Women’s Prize for Fiction), The Financial Times, Summer Books of 2017 Critics’ Picks

“. . . startlingly poetic . . . Hunter writes with delicacy and precision; her imagery is pearlescent in places. It’s a sliver of a novel, but it shimmers.”
—The Observer

“This economy of style empowers a narrative celebrating motherhood, which is ambitious, original and disturbing — and took me back to those raw early days of parenthood.”
—The Mail on Sunday

“Set in a post-apocalyptic Britain, Megan Hunter’s debut is lyrical, uplifting and unmissable.”
—Stylist

“Hunter’s spare, drumskin-tight prose zings off the page, and ingenious descriptions abound . . . a book of wide horizons and big ideas . . . For Hunter . . . the future looks very bright indeed.”
—The Scotsman

“The End We Start From is an effective, unusual and ambitious debut, which keeps the reader pinned to the page.”
—The Guardian

“Written in spare fragments with a lyrical pull . . . a haunting work, all the way to its unpredictable ending.”
—The Sunday Times

“written with poetic reticence, it paints an expansive and moving portrait of the struggles and celebrations that any new parent faces against a backdrop that feels at once like a distant nightmare and an all-too-probable consequence of climate change.”
—Chloe Schama, Vogue

“An exceptional, alarming and beautiful book, which still echoes months after I finished reading it. Megan Hunter is a writer of unnerving power.”
—Evie Wyld

“The End We Start From is strange and powerful, and very apt for these uncertain times. I was moved, terrified, uplifted — sometimes all three at once. It takes skill to manage that, and Hunter has a poet’s understanding of how to make each word count.”
—Tracy Chevalier, author of Girl With a Pearl Earring

“The End We Start From is a beautifully spare, haunting meditation on the persistence of life after catastrophe. I loved it.”
—Emily St. John Mandel, author of Station Eleven

“I can’t remember ever having read a novel quite as sparing or as daring as Megan Hunter’s The End We Start From, or one that delivers so mighty an impact from such delicate materials. It is a moving, wistful and compelling debut.”
—Jim Crace, author of Harvest

“Extraordinary. Megan Hunter’s prose is exquisite, her depiction of a world descending into chaos is frighteningly real, and yet, it is her portrayal of motherhood – that tender-terrifying experience of bringing a child into a world — that has remained with me. The End We Start From is an incredible, original exploration of all that beauty, boredom and bewilderment. I read it in one sitting, and was deeply moved.”
—Hannah Kent, author of Burial Rites and The Good People

“I’ll be recommending this book for years to come. Utterly brilliant, hugely important. Here’s the thing: it’s perfect.”
—Nathan Filer, author of The Shock of the Fall

“Beautiful . . . Water isn’t the thing here, love is. And how we survive as the level of love rises.”
—Cynan Jones, author of The Dig and The Cove

“Exceptional, stunning. I devoured it.”
—Megan Bradbury, author of Everyone is Watching

“The End We Start From is relentlessly, achingly personal. Hunter reminds us that disasters are rarely experienced in panorama. Instead, we live bone-deep inside our narrator. This book is fierce, sorrowful, and spiked with moments of bright joy.”
—Rowan Hisayo Buchanan, author of Harmless Like You

“The End We Start From is so good and clever: a beautiful, timely book about survival (both domestic and global) shot through with hope and humanity.”
—Lisa Owens, author of Not Working

“A flood of spare prose courses through Megan Hunter’s debut novel.”
—Vanity Fair

“The real strength of this wonderfully earthy novel is in its sharpened lens on motherhood’s apocalyptic-feeling joys and terrors, and how they can form an all-encompassing world.”
—Vogue

“The postapocalyptic literary novel is currently in vogue almost to the point of redundancy, but Hunter’s slim yet sharp debut offers a level of precision and interiority rarely seen in the genre….Told in a voice that is by turns meditative, desperate, and hopeful, this novel showcases Hunter’s considerable talents and range.”
—Publishers Weekly

“Poetic and succinct…The power of Hunter’s story is both in its stark prose, which undulates and captures searing images as poems might otherwise do, and in the connection of its future to the past...Though the story is marked by incredible loss, the hope beyond the devastation is worth holding on for. Hunter’s is an uncommon disaster tale—lovely, intimate, and foreboding.”
—Foreword Reviews (Editor’s Choice)

International IMPAC Dublin Literary Award 2020, Long-listed

A Toronto Star “16 reads for summer weekends” selection
A Brightly “10 Brand-New Books to Add to Your TBR List This Month” selection

“Captivating . . . consistently surprising and hilarious. . . . The book includes a plethora of lively literary and cultural references in footnotes, sidebars, and illustrations. This novel is an inventive delight, perfectly pitched to omnivorous readers.”
—Publishers Weekly (starred review)

“Immigrant, Montana is a beguiling meditation on memory and migration, sex and politics, ideas and art, and race and ambiguity. Part novel, part memoir, this book is as sly, charming, and deceptive as its passionate protagonist, a writer writing himself into being.”
—Viet Thanh Nguyen, Pulitzer Prize Winner and author of The Sympathizer

“There is a buoyant energy and hilarity to this account of an Indian student seeking the wide world through the women he meets, but one laughs with growing unease as a darker undercurrent is slowly revealed. An unusual, brave twist on the migrant’s tale.”
—Kiran Desai, winner of the Man Booker Prize for The Inheritance of Loss

“Amitava Kumar's Immigrant, Montana is romantic, natural, gorgeously detailed, and painfully truthful about exile, grad school, sex and the South Asian man. Few novels have captured the mental texture of immigration so accurately.”
—Karan Mahajan, author of The Association of Small Bombs

“Apparently, Amitava Kumar once considered calling this book The Man Without a Country, which is indeed what it's about—the eros of crossing and crisscrossing borders, the necessity of jumping boundaries, the excitement of refusing to place people and books in categories. An urgant, galvanizing work.”
—David Shields, author of Reality Hunger and Other People

“Amitava Kumar's novel brings to mind W. G. Sebald's work, but Kumar has a deeper curiosity in the borderless-ness of storytelling as a confrontation to all kinds of borders imposed upon his characters by the external and the artificial, as we see more and more in today's world. Audacious in its scope yet with refreshing attention to detail, Immigrant, Montana is one of those novels that, with each rereading, a reader will unlock another treasure of joy.”
—Yiyun Li, author of Dear Friend, from My Life I write to You in Your Life

“Novels are a form of settled entertainment by now. People go to them for what they are sure of finding. Novels are read and generally rewarded for the ease of their consumption. In this sense, they’ve become rather like television series, but at least television series don’t pretend to be other than they are. The hundreds of novels that are published each year are for the most part inconsequential, with the inconsequentiality underscored by their heaviness (heaviness rather than gravity). The exceptions prove this rule: in the works of JM Coetzee, Penelope Fitzgerald, Rachel Cusk, John Berger, VS Naipaul, or Ben Lerner—stylistically different though they are—one is relieved to find that the novel is not dead. What do these books have in common? They understand the role of freedom in the forward motion of a narrative, they are free without folly, they have a real freedom tightly bound to craft. The sentences sing in the dark. Immigrant, Montana is a book in this class, and easily the best new novel I have read in recent years.”
—Teju Cole, author of Open City

“As cerebral as it is sensual, and as slippery in nature as it is insightful. . . . Immigrant, Montana is intelligent, melancholy, quirky. At a time when feelings run high over which immigrants get to call themselves American, Kailash’s idiosyncratic voice adds a welcome tonic note to the debate.”
—The Boston Globe

“A portrait of a mind moving uneasily between a new, chosen culture and the one left behind. . . . Immigrant, Montana . . . [channels] the pleasure of the most satisfying nonfiction books, the ones in which the reader sees the old anew.”
—The New Yorker

“This novel fearlessly unmasks some great men, making political stalwarts and revolutionaries stumble down from their pedestals.”
—The Guardian

"Written with humor, insight, and longing, Immigrant, Montana is at its core an investigation of love and its ability to shape, reshape, or destroy borders."
—PEN America
“Immigrant, Montana is a delight.”
—Hanif Kureishi, author of Intimacy

“This is a deeply American novel, one that delves into the messiness of love (and sex!), and the meeting point between identity, character, place, and the constant cultural stuff floating around. I was reminded, strangely, reading it, not only of our contemporary explorers—Teju Cole and Ben Lerner and Lydia Davis—but also Woody Allen and Philip Roth, and so many others who had the skill and talent and, above all, the humor to do whatever was necessary to delve into the lives of their characters, even if it meant breaking with traditions and incorporating new ways of using the materials of the culture: we are, their work says, not only internal beings struggling for love and meaning in our lives, but also complex amalgamation of cultural and historical information. Above all, Kumar's novel was uproariously funny and deeply moving.”
—David Means, author of Hystopia

“Full of stirring insights into the Indian immigrant’s cultural experience, including his various, often unfulfilling, sexual exploits, this is a very funny, frank novel with shades of early Roth, Updike and Woody Allen. Damn fine.”
—The Big Issue

“The bio-fictional novel plays out like an emotional composition, layered with news clippings, diary notations, photographs, historical essays, literary quotes and pop-culture references as outsider Kailash tries to navigate his new home.”
—The Star

“Immigrant, Montana is an unusually bold take [told] in an effortless and refreshing style. Listed as one of the best books of 2018 by the New Yorker magazine, Immigrant, Montana will force you to follow your own migration trajectory."
—The American Bazaar

Booker Prize 2016, Short-listed

SHORTLISTED FOR THE MAN BOOKER PRIZE 2016
Financial Times Summer Book Pick

“Gorgeous . . . What makes the book so good is Ms. Levy’s great imagination, the poetry of her language, her way of finding the wonder in the everyday, of saying a lot with a little, of moving gracefully among pathos, danger and humor and of providing a character as interesting and surprising as Sofia. It’s a pleasure to be inside Sofia’s insightful, questioning mind.” —The New York Times

“Highbrow/Brilliant. [An] intensely interior but highly charged new novel about family, hypochondria, Spain, Greece, and all kinds of sex.” —New York Magazine, Approval Matrix

“Levy has spun a web of violent beauty and poetical ennui . . . the book exerts a seductive, arcane power, rather like a deck of tarot cards, every page seething with lavish, cryptic innuendo.” —The New York Times Book Review

“Hot Milk is a complicated, gorgeous work.” —Marie Claire

“A powerful novel of the interior life, which Levy creates with a vividness that recalls Virginia Woolf . . . Transfixing.” —Erica Wagner, The Guardian

“Exquisite prose . . . Hot Milk is perfectly crafted, a dream-narrative so mesmerising that reading it is to be under a spell. Reaching the end is like finding a piece of glass on the beach, shaped into a sphere by the sea, that can be held up and looked into like a glass-eye and kept, in secret, to be looked at again and again.” —Suzanne Joinson, The Independent

“Levy’s language is precise. The absurdities of her style seem scattershot at first, but yield a larger pattern: a commentary on debt and personal responsibility, family ties and independence.” —Washington Post

“Economical, fluid, evocative of sex and mythology . . . . Young Sofia . . . drop[s] beautiful bombs of truth.” —New York Magazine’s Vulture blog

“A singular read . . . Levy has crafted a great character in Sofia, and witnessing a pivotal moment in her life is a pleasure.” —starred and boxed review, Publishers Weekly

“Scintillating, provocative . . . Levy combines intellect and empathy to impressively modern effect.” —starred review, Kirkus Reviews

“Great lush writing [and] luxuriation in place. No writer infuses the landscape, urban or rural, with as much meaning and monstrosity as Levy . . . Unmissable.” —Eimear McBride, The New Statesman

“A beguiling tale of myths and identity . . . provocative . . . The difficult, ambivalent, precious mother-daughter relationship forms the core of this beautiful, clever novel.” —Michele Roberts, The Independent

“Among the questions posed in this heady new novel: Is Sofia’s mother, Rose, sick or a hypochondriac who’s feverish for attention? And more important, can the frustrated Sofia break the chains of familial devotion and live for herself?” —O, the Oprah Magazine

“The author of the elusive, powerful novel Swimming Home has another tale of family dysfunction. In the unforgiving heat of southern Spain, wayward anthropologist Sofia Papastergiadis delivers her mother into the hands of an eccentric doctor whom they hope can diagnose the mysterious illness that has taken over her body.” —Elle.com, “11 of the Best Books to Read in July”

“A fascinating book about sexuality, anger, medicine, and the drive to stay alive, Hot Milk is a unique novel that reads like a lucid dream.” —Bustle, “12 Travel Books That Will Transport You This Summer”

“Mesmerizing . . . evocative and complex.” —Booklist

“A terrific tale of mothers and daughters and fathers and daughters and confusion and old age, sickness, woe . . . and finding love tucked away in strange places.” —R.A.L.P.H. Magazine

“Dazzling and, at times, deeply disturbing, Hot Milk is a mystery meets introspective coming-of-age novel. It's unnerving—and that's a good thing.” —Refinery 29, “20 Books Perfect For Your Summer Vacay”

“The Man Booker short-listed Levy . . . draws in readers with beautiful language and unexpected moments of humor and shock.” —Library Journal

“A captivating demonstration of why Levy is one of the few necessary novelists writing in Britain today. This is the poetry and playfulness of her prose . . . More important, Levy grapples with and presents the complex psychology and multiple facets of her female characters like few others, which makes the recent reappraisal of her life’s work all the more welcome.” —The Forward

“A fraught, intense bond between mother and daughter is poetically rendered in Hot Milk, Deborah Levy’s follow-up to the 2012 Man Booker short-listed Swimming Home.” —San Diego Magazine, “5 Books to Read in July”

“Acutely relevant . . . A triumph of technically adroit storytelling. Levy’s elegant and poised prose has the rare quality of being simultaneously expansive and succinct . . . A breath of fresh air.” —The Literary Review

“A superbly crafted novel that is an inherently fascinating and consistently compelling read from beginning to end, Hot Milk clearly reveals author Deborah Levy as an exceptionally gifted storyteller.” —Midwest Book Review

National Bestseller

Praise for Michael Ondaatje’s Warlight:

"The word [warlight] aptly describes the atmosphere of this haunting, brilliant novel . . . set in Britain in the decades after WWII. . . . Mesmerizing from the first sentence, rife with poignant insights and satisfying subplots, this novel about secrets and loss may be Ondaatje's best work yet." —Publishers Weekly (starred review)

"A lyrical mystery. . . . Ondaatje’s shrewd character study plays out in a smart, sophisticated drama, one worth the long wait for fans of wartime intrigue." —Kirkus Reviews (starred review)

"Warlight is Ondaatje in classic form: elegant, playful and striving to connect." —Toronto Star

"Warlight possesses many of Ondaatje’s signature strengths: indelible images and a deep exploration of memory’s mindscape." —Quill and Quire

"The poetic use of natural imagery in Warlight will keep readers ruminating on how easily the world around us adapts to human foibles. . . . Do we need to obtain answers, this novel asks, or might we learn to relish ambiguity? In a book made lush through layers of experience instead of description, the latter feels possible." —Los Angeles Times

"[Ondaatje] casts a magical spell, as he takes you into his half-lit world of war and love, death and loss, and the dark waterways of the past." —New York Review of Books

"Warlight is a quiet new masterpiece from Michael Ondaatje. . . . An elegaic thriller [with] the immediate allure of a dark fairy tale. In Warlight, all is illuminated, at first dimly then starkly, but always brilliantly." —The Washington Post