A Los Angeles Times Best Book of the Year: “Part social satire, part thriller, and entirely clever” (Elle). It is a midsummer’s evening in the English countryside, and the three grown Palmer children are coming to the end of an enjoyable meal in the company of their partners and offspring. From this pleasant vantage point they play a dinner-party game: What kind of society would you be willing to accept if you didn’t know your place in it? But the abstract question of justice, like all their family conversations, is eventually brought back to the more pressing problem of their eccentric mother, Frieda, the famous writer, who has abandoned them and her old life, and gone to live alone in Exmoor. Frieda has always been a powerful and puzzling figure, a monster mother with a mysterious past. What is she plotting against them now? Has some inconvenient form of political correctness led her to favor her enchanting half-Guyanese grandson? What will she do with her money? Is she really writing her memoirs? And why has she disappeared? Has the dark spirit of Exmoor finally driven her mad? The Witch of Exmoor brilliantly interweaves high comedy and personal tragedy, unraveling the story of a family whose comfortable, rational lives, both public and private, are about to be violently disrupted by a succession of sinister, messy events. “Leisurely and mischievous,” it is a dazzling, wickedly gothic tale of a British matriarch, her three grasping children, and the perils of self-absorption (The New Yorker). “As meticulous as Jane Austen, as deadly as Evelyn Waugh.” —Los Angeles Times

The new novel from Susan Fletcher, author of the bestselling Eve Green' and Oystercatchers'.

For centuries, the figure of the witch represented the hostile and feared “other” on the edge of human society, placed “in between” the world of people and the world of demons. Whether she stood for the untamed powers of nature, dark powers of knowledge or magic, or evil powers derived from the devil, she was always identified with fear as a disturbance, as a danger to the order of society and to the well-being of those who understood themselves as settled within the borders of the patriarchal order and its psychological and sexual corselet. In this role, the witch appeared in numerous literary works, including, among others, writings by Chaucer, Shakespeare and Middleton. However, since the 1840s, the image of the witch has undergone enormous transformations, mainly due to the influence of various matriarchate theories and of feminist ideas. The witch, reclaimed by women for women, became an identification figure and representative of their expectations, fears, hopes and claims. This study investigates examples of witches in publications by contemporary British women writers to see how this figure is perceived, related to, and utilised in their respective texts. Iris Murdoch, Jeanette Winterson, Angela Carter and Fay Weldon, among others, refer consistently to this witch figure, whom they interpret in various creative and surprising ways, adopting innovative approaches to this comparably ancient figure.

'A compelling, prescient tale of an alternate world with far too many scary similarities to our own.' Angela Clarke Let me repeat myself, so we can be very clear. Women are not the enemy. We must protect them from themselves, just as much as we must protect ourselves. Imagine a world in which witchcraft is real. In which mothers hand down power to their daughters, power that is used harmlessly and peacefully. Then imagine that the US President is a populist demagogue who decides that all witches must be imprisoned for their own safety, as well as the safety of those around them - creating a world in which to be female is one step away from being criminal... As witches across the world are rounded up, one young woman discovers a power she did not know she had. It's a dangerous force and it puts her top of the list in a global witch hunt. But she - and the women around her - won't give in easily. Not while all of women's power is under threat. The Coven is a dazzling global thriller that pays homage to the power and potential of women everywhere. * 'A gripping and vividly drawn dystopian fantasy about the power and potential of women which feels easier to enjoy now Trump has gone.' Heat 'Thought-provoking and powerful. A big, page-turning thriller.' Paula Daly 'A real thrill ride.' Debbie Moon 'Dark, dangerous & powerful - I couldn't put it down' Michelle Kenney, author of The Book of Fire series 'Compelling, urgent and highly original as well as being a cracking read. I loved it.' Kate Hamer 'A barnstorming, breathless ride - The Handmaid's Tale by way of wicca and Witchfinder General. Thrillingly cinematic and compulsive reading.' Stephen Volk

A Companion to the British and Irish Novel 1945-2000 serves as an extended introduction and reference guide to the British and Irish novel between the close of World War II and the turn of the millennium. Covers a wide range of authors from Samuel Beckett to Salman Rushdie Provides readings of key novels, including Graham Greene’s ‘Heart of the Matter’, Jean Rhys’s ‘Wide Sargasso Sea’ and Kazuo Ishiguro’s ‘The Remains of the Day’ Considers particular subgenres, such as the feminist novel and the postcolonial novel Discusses overarching cultural, political and literary trends, such as screen adaptations and the literary prize phenomenon Gives readers a sense of the richness and diversity of the novel during this period and of the vitality with which it continues to be discussed

The first new novel in five years from “one of the most versatile and accomplished writers of her generation” —Joyce Carol Oates, The New Yorker. Jessica Speight, a young anthropology student in 1960s London, is at the beginning of a promising academic career when an affair with her married professor turns her into a single mother. Anna is a pure gold baby with a delightful, sunny nature, but it soon becomes clear that she will not be a normal child. As readers are drawn deeper into Jessica’s world, they are confronted with questions of responsibility, potential, even age, all with Margaret Drabble’s characteristic intelligence, sympathy and wit. Drabble once wrote, “Family life itself, that safest, most traditional, most approved of female choices, is not a sanctuary; it is, perpetually, a dangerous place.” Told from the point of view of the group of mothers who surround Jess, The Pure Gold Baby is a brilliant, prismatic novel that takes us into that place with satiric verve, trenchant commentary and a movingly intimate story of the unexpected transformations at the heart of motherhood.

When she wrote The Robber Bride, Margaret Atwood created a really villainous villain who happened to be a woman, partly in reaction to the fact that in Western literature the most meaty, wicked, and therefore interesting parts always seemed to go to male characters. Aguiar (English, Murray State U.) cites the beacon shone by Atwood in introducing her study, which discusses the dawning in contemporary literature of "the season of the bitch": a re-evaluation and reclaiming of female toughness, thorniness, and just plain badness in which women characters are also portrayed as more complete, possessed of motivations, and strongly individual. Annotation copyrighted by Book News Inc., Portland, OR