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M John Harrison is one of two septuagenarian authors nominated for the prize for “literature at its most novel”.
Despite an erratic publishing history, Tressell's ferocious satire became ubiquitous in the early 20th century, and soon entered the working-class canon.
Volckmer’s The Appointment, Falk’s The Light Ages, Tempest’s On Connection and Barry’s That Old Country Music.
In the past decade, the Jamaican-born poet has reversed the way we talk about race by focusing not on black victimhood, but on white privilege.
Andrew O'Hagan's new novel, Mayflies, has me gripped as I revisit the giddy hedonism of Manchester in the 1980s.
Over five decades, the American poet has built a body of work that “makes individual existence universal”.
Freud could be selfish, amoral and cruel. But he lived and painted with feverish intensity.
Nick Greenslade's The Thin White Line offers the inside story of the 2010 Pakistani cricket betting scam.
In The Glass Kingdom, Osborne upends our most basic assumptions about the human world.
Hunter's The Harpy, Garrett's Bunker, Sinclair's Cannibal, and Ball's The System.
Beyond the white male canon: Bernardine Evaristo’s New Statesman/Goldsmiths Prize Lecture offers a manifesto for the creation of a new, inclusive literary landscape.
