Madeleine Feeny

‘Ex-wives like us illustrate how this freedom for women turned out to be God’s greatest gift to men,’ quips Patricia, the flapper heroine of the American novelist Ursula Parrott’s 1929 bestseller, which, republished nearly a century later, reveals striking contemporary resonances. Both timeless and unmistakably of its time, this candid portrait of marital breakdown, and

‘Inigo has never asked me not to write this book, but I had come to wonder whether I would have had the courage to write it were he not imprisoned,’ confesses Orlando Whitfield in his coruscating memoir of his friendship with Inigo Philbrick. He was the art dealer whose meteoric career exploded in spectacular style

‘No one dies without regrets,’ says Doctor Kaiser Shah in Mirza Waheed’s melancholy third novel, an exploration of guilt through the eyes of a doctor haunted by his past, which won the Hindu Prize for Fiction 2019 and was nominated for two further prizes in Asia. While both Waheed’s previous novels – The Collaborator, a

In Jon Ransom’s debut novel, water seeps into the crevices between waking and dreaming, flooding the narrator Joe’s consciousness. Set in the liminal landscape of Norfolk’s tidal wetlands, it’s an urgent, roiling tale of gay love, suppressed traumas and lives cut short. A working-class writer with no formal education, Norfolk-raised Ransom wrote the first draft

Kenneth Branagh’s Oscar-winning recent film Belfast chronicles the travails of a Protestant family amid sectarian conflict in 1969. Louise Kennedy’s much hyped first novel, set outside Belfast in 1975, explores the same tensions from a different perspective. Like her protagonist Cushla, Kennedy’s Catholic family owned a pub in a Protestant-majority town, and Trespasses captures how

Her name has faded, but the British author and editor Kay Dick once cut a striking figure. She lived in Hampstead with the novelist Kathleen Farrell for more than 20 years, among a mid-20th-century literary set that included Stevie Smith and Ivy Compton-Burnett. Her most acclaimed novel was The Shelf, the story of a lesbian

Many would say the commute was one thing they didn’t miss in lockdown. But when Lauren Elkin was ‘yanked out of the public sphere and resituated, inescapably, in the private’, she felt nostalgic for the bus’s incidental intimacy. The Franco-American writer and translator revisited notes made on her iPhone between September 2014 and November 2015,

Sunjeev Sahota’s novels present an unvarnished image of British Asian lives. Ours Are the Streets chronicles a suicide bomber’s radicalisation, and its Booker-shortlisted successor, The Year of the Runaways, follows illegal immigrants in Sheffield — where Sahota now lives, having been raised in Derby by Punjabi-born parents. China Room, his most autobiographical work to date,

In 2009 Margaret Atwood published The Year of the Flood, set in the aftermath of a waterless flood, a flu-like pandemic that almost extinguishes human life. Twelve years ago such apocalyptic visions still felt speculative. Today, Jessie Greengrass’s new novel, The High House, imagining a near future in which civilisation is engulfed by an actual

Gwendoline Riley’s unsentimental fiction hovers on the edge of comedy and bleakness, and has drawn comparisons from Jean Rhys to Albert Camus. First Love, her fifth novel, put a toxic relationship under the microscope, winning the Geoffrey Faber Memorial Prize in 2017 and being shortlisted for five others, including the Women’s Prize for Fiction. Expanding

One of Barack Obama’s favourite books of 2020, Raven Leilani’s debut comes acclaimed by a literary Who’s Who that includes Zadie Smith, the author’s teacher at New York University. Five months after Luster became an instant New York Times bestseller, it hits British shores on a tsunami of hype that might grate if the novel

Babysitters are having a literary moment. Following Kiley Reid’s debut Such a Fun Age, Nick Hornby is the latest author to mine the potential for blurred lines and crossed boundaries bred by the employer-childminder dynamic. Throw race, class, sex and Brexit in the mix, and you have a juicy plot that’s both vintage Hornby and