“Read every page of this book; better still, re-read them. The invocation means no hardship, since every true reader must surely be captivated by Rushdie’s masterful invention and ease, the flow of wit and insight and passion. How literature of the highest order can serve the interests of our common humanity is freshly illustrated here: a defence of his past, a promise for the future, and a surrender to nobody or nothing whatever except his own all-powerful imagination.”-Michael Foot, Observer Salman Rushdie’s Imaginary Homelands is an important record of one writer’s intellectual and personal odyssey. The seventy essays collected here, written over the last ten years, cover an astonishing range of subjects –the literature of the received masters and of Rushdie’s contemporaries; the politics of colonialism and the ironies of culture; film, politicians, the Labour Party, religious fundamentalism in America, racial prejudice; and the preciousness of the imagination and of free expression. For this paperback edition, the author has written a new essay to mark the third anniversary of the fatwa.

“If you want to know why more people are asking ‘what’s your pronoun?’ then you (singular or plural) should read this book.” —Joe Moran, New York Times Book Review Heralded as “required reading” (Geoff Nunberg) and “the book” (Anne Fadiman) for anyone interested in the conversation swirling around gender-neutral and nonbinary pronouns, What’s Your Pronoun? is a classic in the making. Providing much-needed historical context and analysis to the debate around what we call ourselves, Dennis Baron brings new insight to a centuries-old topic and illuminates how—and why—these pronouns are sparking confusion and prompting new policies in schools, workplaces, and even statehouses. Enlightening and affirming, What’s Your Pronoun? introduces a new way of thinking about language, gender, and how they intersect.

A New York Times Book Review Editors’ Choice A Telegraph Editor’s Choice An Evening Standard “Best Books about London” Selection In popular imagination, London is a city of fog. The classic London fogs, the thick yellow “pea-soupers,” were born in the industrial age of the early nineteenth century. Christine L. Corton tells the story of these epic London fogs, their dangers and beauty, and their lasting effects on our culture and imagination. “Engrossing and magnificently researched...Corton’s book combines meticulous social history with a wealth of eccentric detail. Thus we learn that London’s ubiquitous plane trees were chosen for their shiny, fog-resistant foliage. And since Jack the Ripper actually went out to stalk his victims on fog-free nights, filmmakers had to fake the sort of dank, smoke-wreathed London scenes audiences craved. It’s discoveries like these that make reading London Fog such an unusual, enthralling and enlightening experience.” —Miranda Seymour, New York Times Book Review “Corton, clad in an overcoat, with a linklighter before her, takes us into the gloomier, long 19th century, where she revels in its Gothic grasp. Beautifully illustrated, London Fog delves fascinatingly into that swirling miasma.” —Philip Hoare, New Statesman

With original artworks throughout, an extraordinary fusion of memoir and artistic biography from the acclaimed artist and author of Self-Portrait. Dearest Gwen, I know this letter to you is an artifice. I know you are dead and that I’m alive and that no usual communication is possible between us but, as my mother used to say, “Time is a strange substance” and who knows really, with our time-bound comprehension of the world, whether there might be some channel by which we can speak to each other, if we only knew how. Celia Paul’s Letters to Gwen John centers on a series of letters addressed to the Welsh painter Gwen John (1876–1939), who has long been a tutelary spirit for Paul. John spent much of her life in France, making art on her own terms and, like Paul, painting mostly women. John’s reputation was overshadowed during her lifetime by her brother, Augustus John, and her lover Auguste Rodin. Through the epistolary form, Paul draws fruitful comparisons between John’s life and her own: their shared resolve to protect the sources of their creativity, their fierce commitment to painting, and the ways in which their associations with older male artists affected the public’s reception of their work. Letters to Gwen John is at once an intimate correspondence, an illuminating portrait of two painters (including full-color plates of both artists’ work), and a writer/artist’s daybook, describing Paul’s first exhibitions in America, her search for new forms, her husband’s diagnosis of cancer, and the onset of the global pandemic. Paul, who first revealed her talents as a writer with her memoir, Self-Portrait, enters with courage and resolve into new unguarded territory—the artist at present—and the work required to make art out of the turbulence of life.

This index provides valuable information on the vast majority of reviews of poetry, fiction, and drama during the first 25 years of modern, formalized book reviewing in England. Forster introduces readers to the wealth of material in the two major review journals (Monthly Review and Critical Review), the two major magazines (Gentleman’s and London), and 11 other periodicals. She includes in her 3,023 entries information on format, price, and bookseller’s name taken from the books themselves. In her Introduction, Forster surveys some material concerning the reviewers’ public attitude to their self-appointed task to provide a background against which the reviewers’ literary judgments can be examined.

In December 2010, Julian Assange signed a contract with Canongate Books to write a book – part memoir, part manifesto – for publication the following year. At the time, Julian said: ‘I hope this book will become one of the unifying documents of our generation. In this highly personal work, I explain our global struggle to force a new relationship between the people and their governments.’ In the end, the work was to prove too personal. Despite sitting for more than fifty hours of taped interviews and spending many late nights at Ellingham Hall (where he was living under house arrest) discussing his life and the work of WikiLeaks with the writer he had enlisted to help him, Julian became increasingly troubled by the thought of publishing an autobiography. After reading the first draft of the book at the end of March, Julian declared: ‘All memoir is prostitution.’ In June 2011, with thirty-eight publishing houses around the world committed to releasing the book, Julian told us he wanted to cancel his contract. We disagree with Julian’s assessment of the book. We believe it explains both the man and his work, underlining his commitment to the truth. Julian always claimed the book was well written; we agree, and this also encouraged us to make the book available to readers. And the contract? By the time Julian wanted to cancel the deal he had already used the advance money to settle his legal bills. So the contract still stands. We have decided to honour it – and to publish. This book is the unauthorised first draft. It is passionate, provocative and opinionated – like its author. It fulfils the promise of the original proposal and we are proud to publish it. Canongate Books, September 2011

BOOKER PRIZE NOMINEE • From the internationally bestselling author of The Sense of an Ending comes a literary detective story of a retired doctor obsessed with the 19th century French author Flaubert—and with tracking down the stuffed parrot that once inspired him. • “A high literary entertainment carried off with great brio.” —The New York Times Book Review Julian Barnes playfully combines a detective story with a character study of its detective, embedded in a brilliant riff on literary genius. A compelling weave of fiction and imaginatively ordered fact, Flaubert's Parrot is by turns moving and entertaining, witty and scholarly, and a tour de force of seductive originality.