Barker, Barnes, Hollinghurst, Ishiguro, Mitchell, Rushdie, Smith, Tremain, Winterson . . . Long before they were household names, they were Granta Best of Young British Novelists. With each Young Novelist list - in 1983, 1993, and 2003 - came new ways of witnessing the world, introductions to unforgettable characters and mysterious and addictive voices. In 2013, thirty years after the first collection, the magazine asked once again: which writers are setting the bar for a new decade in British literature?
The third volume of Granta's renowned, and prescient, Best of Young American Novelists. Every ten years, Granta devotes an issue to new American fiction by writers under the age of forty, showcasing the young novelists deemed to be the best of their generation - writers of remarkable achievement and promise. In 1997 and 2007 we picked out such luminaries as Edwidge Danticat, Jeffrey Eugenides, Jonathan Safran Foer, Jonathan Franzen, Nicole Krauss, Lorrie Moore, Yiyun Li, Karen Russell and Gary Shteyngart. In this special issue, we bring you Granta's Best of Young American Novelists of 2017: twenty-one outstanding writers, each able to capture the preoccupations of modern America. Jesse Ball, Halle Butler, Emma Cline, Joshua Cohen, Mark Doten, Jen George, Rachel B. Glaser, Lauren Groff, Yaa Gyasi, Garth Risk Hallberg, Greg Jackson, Sana Krasikov, Catherine Lacey, Ben Lerner, Karan Mahajan, Anthony Marra, Dinaw Mengestu, Ottessa Moshfegh, Chinelo Okparanta, Esm Weijun Wang, Claire Vaye Watkins These are the novelists you will soon be reading, chosen by panel of judges who are themselves acclaimed writers: Patrick deWitt, A.M. Homes, Kelly Link, Ben Marcus and Sigrid Rausing.
Granta Best Young British Novelist and Sunday Times Young Writer of the Year, Shortlisted for NINE literary awards 'Ross Raisin's story of how a disturbed but basically well-intentioned rural youngster turns into a malevolent sociopath is both chilling in its effect and convincing in its execution' J. M. Coetzee 'Utterly frightening and electrifying' Joshua Ferris 'Astonishing, funny, unsettling ... An unforgettable creation [whose] literary forebears include Huckleberry Finn, Holden Caulfield and Alex from A Clockwork Orange' The Times 'Remarkable, compelling, very funny and very disturbing . . . like no other character in contemporary fiction' Sunday Times In God's Own Country, one of the most celebrated debut novels of recent years, Ross Raisin tells the story of solitary young farmer, Sam Marsdyke, and his extraordinary battle with the world. Expelled from school and cut off from the town, mistrusted by his parents and avoided by city incomers, Marsdyke is a loner until he meets rebellious new neighbour Josephine. But what begins as a friendship and leads to thoughts of escape across the moors turns to something much, much darker with every step. 'Powerful, engrossing, extraordinary, sinister, comic. A masterful debut' Observer
From Ross Raisin, the highly acclaimed author of Out Backward—a debut novel Colm Tóibín called “compelling, disturbing and often very funny”—comes the moving and story of an ex-shipyard worker’s journey of grief and reclamation in the wake of his wife’s death. Lyrical and resonant, with echoes of Paul Harding’s Tinkers and Anne Enright’s The Gathering, Raisin’s blue collar story of a man’s fractured search for a new beginning is a powerfully voiced, penetratingly personal narrative of alienation and, ultimately, redemption. “Ross Raisin confirms himself as an exciting talent, a unique, gifted, and generous voice, a young writer with a vision broad far beyond his years.” —David Vann, Financial Times
This book examines how contemporary global novels by Salman Rushdie, David Mitchell, Rana Dasgupta and Rachel Kushner have evolved new aesthetics to represent global economic and ecological crises. Paying close attention to the interrelations between postcolonial, world, and global literatures, this book argues that postcolonial literary studies cannot account for global crises that exceed the national and anti-colonial. Advocating an interdisciplinary framework informed by a synthesis of materialist literary theory with world-systems theory, combining Fredric Jameson and Georg Lukács with Giovanni Arrighi and Jason W. Moore, this book examines how global literatures metabolise not only socioeconomic conditions, but also transformations in the world-ecology, and emergent developmental and epochal crises of capitalism.
Named one of Granta's Best of Young British Novelists Anais Hendricks, fifteen, is in the back of a police car. She is headed for the Panopticon, a home for chronic young offenders. She can't remember what’s happened, but across town a policewoman lies in a coma and Anais is covered in blood. Raised in foster care from birth and moved through twenty-three placements before she even turned seven, Anais has been let down by just about every adult she has ever met. Now a counterculture outlaw, she knows that she can only rely on herself. And yet despite the parade of horrors visited upon her early life, she greets the world with the witty, fierce insight of a survivor. Anais finds a sense of belonging among the residents of the Panopticon—they form intense bonds, and she soon becomes part of an ad-hoc family. Together, they struggle against the adults that keep them confined. But when she looks up at the watchtower that looms over the residents, Anais realizes her fate: She is an anonymous part of an experiment, and she always was. Now it seems that the experiment is closing in. Now with Extra Libris material, including a reader’s guide and bonus content
On Women's Films looks at contemporary and classic films from emerging and established makers such as Maria Augusta Ramos, Xiaolu Guo, Valérie Massadian, Lynne Ramsay, Lucrecia Martel, Rakhshan Bani-Etemad, Chantal Akerman, or Claire Denis. The collection is also tuned to the continued provocation of feminist cinema landmarks such as Chick Strand's Soft Fiction; Barbara Loden's Wanda; Valie Export's Invisible Adversaries, Cecilia Mangini's Essere donne. Attentive to minor moments, to the pauses and the charge and forms bodies adopt through cinema, the contributors suggest the capacity of women's films to embrace, shape and question the world.
