The reason I’m so excited David Mitchell is writing on Twitter is that he’s one of the few authors who really understands how the medium, as well as the message, makes the story.
The publisher who brought John Williams’s Stoner to Random House believes he has found its successor: a “hillbilly” from the US coal belt with a precious talent.
Brown is a difficult opponent for Alex Salmond’s nationalists to knock down. His continued popularity north of Hadrian’s Wall is a powerful threat to the Yes lobby.
The film world is keen on releasing a director's cut, which differs from the final version of the movie; publishers should do the same with books.
With the editors to avoid and the editors to endure, book publishers’ parties can be a minefield – thank heavens for the Pogues’ accordionist...
A new biography explores the power dynamics of psychoanalysis.
Two of Granta’s 20 “Best of Young Brazilian Novelists” examine Brazil’s Afro-European heritage and waves of migration from the Old World.
Prepare to be depressed. We are living through the “end of equality”, the once-celebrated advances of feminism going into dangerous reverse.
The rise of Nazism ended Stefan Zweig’s career as a European writer and led him ultimately to take his own life. Now he is enjoying an unexpected revival.
What makes our species unique is that we know we are trapped in time, caught briefly between the prenatal darkness and the posthumous one.
An ambitious and extraordinary ninth novel that is haunted by “a familiar piece of music, the old-fashioned sound an orchestra might make for rich ladies and gentlemen to dance to, in the old-fashioned times”.
Marvel have announced that the new Thor will be a woman. Cue outraged cries of “PC gone mad” and “publicity stunt” from a particularly vocal segment of the fandom.
The authors of IPPR’s The Condition of Britain offer a coherent plan and one that will be influential if the Labour Party triumphs in May.
Matthew Sperling looks at new poetry collections by Paul Batchelor, Oli Hazzard, and Toby Martinez de las Rivas.
Jonathan Bate traces the Bard’s debt to the French essayist Michel de Montaigne.
All ten cities share a self-confident belief: that it is quite unthinkable any of their number might ever dim or wither, no matter the tides of human history that sweep around them.
The shift towards English identity is a long-term phenomenon that is probably irreversible.
I had gone to Dublin with the express intention of understanding a city that to me has always seemed incoherent – and even a little minatory.
What should you pack for the summer holiday?
This is a book is stuffed with such wonderful stories, recounted by the people who were there at every level of music-making: players, producers, writers, comedians, friends and fans.
The critics’ verdicts on Linda Grant, Will Hodgkinson and Helen McCarthy.
Jonathan Holloway’s adaptation rightly cherished many things that the film ultimately minimised, in particular the novel’s mourning of the extinction of various animal species.
One has the impression that the war was a prolonged drama for which she was a critic sitting in the audience. She certainly doesn’t seem to understand what part she was expected to play in it.
Storm, despite being a spy at the forefront of western intelligence efforts, was primarily driven by a desperate need to belong.
Three critics attempt to make make sense of the slippery lifespan of the realist novel, with occasionally illuminating and often chaotic results.
From almost the opening shot, the Great War has been fought over by historians wishing to interpret and understand what happened and why. Their conflict is not over yet.
Despite the “cosmopolitan sympathies” of the poets, memorial events in the UK today are dominated by British writers. But there are many other literary voices from the battle for the trenches.
Two poems by the First World War poets both appeared in the pages of the New Statesman – the first in June 1918, the second March 1919.
The centenary of the outbreak of hostilities has mobilised both historians and publishers.