A Leopard-Skin Hat may be Anne Serre’s most moving novel yet. A masterpiece of simplicity, emotion and elegance, it is the story of an intense friendship between the Narrator and his close childhood friend, Fanny, who suffers from profound psychological disorders.

A series of short scenes paints the portrait of a strong-willed and tormented young woman battling many demons, and of the Narrator’s loving and anguished attachment to her. Serre poignantly depicts the bewildering back and forth between hope and despair involved in such a relationship, while playfully calling into question the very form of the novel. Written in the aftermath of the death of the author’s little sister, A Leopard-Skin Hat is both the celebration of a tragically foreshortened life and a valedictory farewell.

God whispers through a crease in the wallpaper, writes Patti Smith in this indelible account of her life as an artist. A post-Second World War childhood unfolds in a condemned housing complex described in Dickensian detail- consumptive children, vanishing neighbours, an infested rat house, and a beguiling book of Irish fairytales. We enter the child’s world of the imagination where Smith, the captain of her loyal and beloved sibling army, vanquishes bullies, communes with the king of tortoises and searches for sacred silver pennies.

The most intimate of Smith’s memoirs, Bread of Angels takes us through her teenage years where the first glimmers of art and romance take hold. Arthur Rimbaud and Bob Dylan emerge as creative heroes and role models as Patti starts to write poetry, then lyrics, merging both into the iconic songs and recordings such as Horses and Easter, ‘Dancing Barefoot’ and ‘Because the Night’.

The scorching, much-anticipated new book from the winner of the 2022 Stella Prize for Dropbear

The Rot is a recalcitrant study of the decaying romances, expired hopes and abject injustices of the world. A liturgy for girlhood in the dying days of late-stage capitalism, these poems expose fraying nerves and tendons of a speaker refusing to avert their gaze from the death of Country, death on Country, and the bloody violence of settler colonies here and afar. Across sleepless nights, fractured alliances and self-destructive coping strategies, The Rot is what happens when poetry swallows more rage than it can console, quiet or ironise – this book demands you ready yourself for a better world.

A woman settles in a remote Polish village. It has few inhabitants, now, but it teems with the stories of its living and its dead. There’s the drunk Marek Marek, who discovers that he shares his body with a bird, and Franz Frost, whose nightmares come to him from a newly discovered planet. There’s the man whose death-with one leg on the Polish side, one on the Czech-was an international incident. And there are the Germans who still haunt a region that not long ago they called their own. From the founding of the town to the lives of its saints, these shards piece together not only a history but a cosmology.

Another brilliant ‘constellation novel’ in the mode of her International Booker Prize-winning Flights, House of Day, House of Night reminds us that the story of any place, no matter how humble, is boundless.

Kaylene Whiskey’s paintings dazzle with brightly coloured pop stars rendered in dots and set amongst her own community in remote Central Australia. She depicts female pop culture icons – including Dolly Parton, Tina Turner, Catwoman, Cher and Wonder Woman – all connected to the Kungkarangkalpa Tjukurpa, or Seven Sisters Story. These heroines, however, are shown partying at Iwantja Art Centre in Indulkana, South Australia.

Her comic-book style and text bubbles are hilarious yet potent symbols of female power in an Aboriginal setting. A joyful visual anthem, Whiskey’s work draws from the country music, rock’n’roll and Anangu songs played in her household growing up. An in-depth interview with the artist punctuates the richly illustrated pages in which Whiskey describes her creative process – blending Anangu traditions with contemporary culture by painting jugs of Coca-Cola alongside mingkulpa (native bush tobacco), lollipops, honey ants and love hearts.

Dive into the year with the wisdom of artists. Gathered from interviews, personal conversations, books and talks, How to Live an Artful Life moves through the months of the year offering you thoughts, reflections and encouragements from artists such as Marina Abramovic, Nan Goldin, Lubaina Himid, Louise Bourgeois and many more. With a thought for every day of the year, whether looking for beginnings in January, freedom in summer, or transformation as the nights draw in, this is a book of words to cherish. The year is full of the promise of work that has yet to be written, paintings that are yet to be painted, people who have yet to meet, talk, or fall in love. With this book in hand, pay attention, and see the world anew. Go out and find it, taste it, seize it, and live it – artfully.

Arundhati Roy’s first work of memoir, this is a soaring account, both intimate and inspiring, of how the author became the person and the writer she is, shaped by circumstance, but above all by her relationship to her extraordinary, singular mother Mary, who she describes as ‘my shelter and my storm’.

Distraught and even a “little ashamed” at the intensity of her response to the death of the mother she ran from at age eighteen, Arundhati began to write Mother Mary Comes to Me. The result is this astonishing, disconcerting, surprisingly funny chronicle-unique and simultaneously universal, of the author’s life, from childhood to the present, from Kerala to Delhi.

With the scale, sweep, and depth of her novels and the passion, political clarity, and warmth of her essays, Mother Mary Comes to Me is an ode to freedom, a tribute to thorny love and savage grace-a memoir like no other.

Tara Selter, the heroine of On the Calculation of Volume, has involuntarily stepped off the train of time: in her world, November 18th repeats itself endlessly. We meet Tara on her 122nd November 18th: she no longer experiences the changes of days, weeks, months, or seasons. She finds herself in a lonely new reality without being able to explain why: how is it that she wakes every morning into the same day, knowing to the exact second when the blackbird will burst into song and when the rain will begin? Will she ever be able to share her new life with her beloved and now chronically befuddled husband? And on top of her profound isolation and confusion, Tara takes in with pain how slight a difference she makes in the world. (As she puts it: “That’s how little the activities of one person matter on the 18th of November.”)

Balle is hypnotic and masterful in her remixing of the endless recursive day, creating curious little folds of time and foreshadowings: her memories of the past light up inside the text like old-fashioned flash bulbs.

The first volume’s gravitational pull—a force inverse to its constriction—has the effect of a strong tranquilizer, but a drug under which your powers of observation only grow sharper and more acute. Give in to the book’s logic (the thrilling shifts, the minute movements, the slant wit, the slowing of time), and its spell is utterly intoxicating.

It was decreed from the moment she was bornth. Twenty-three-year-old Reality Kahn would embark on a quest so great, so bold. She would become the greatest girlfriend of all time. She would be a zine maker, an aspiring notary, the greatest waterslide commercial actress on the Eastern Seaboard. She would receive messages from the beyond in the form of advice from the esteemed and ancient ladies’ magazine, Girlfriend Weekly.

When she attends a party at a punk venue known as ‘Paradise’, Reality meets Ariel, her fated boyfriend.  Determined to win his affection, she joins a cutting-edge clinical trial created by Dr Zweig Altmann to help her become a perfect girlfriend. She stars in a new commercial. She learns how to become an indelible host. But Reality will also learn that sheer will and determination, and a very open heart, are not always enough to make true love manifest.

At turns laugh-out-loud funny, tragic and jarring, Reality’s quest grows ever more complicated as the men in her life: Ariel, her agent Jethro, and Dr Altmann himself, prove treacherous. 

Galway 1993: Young Garda Cormac Reilly is called to a scene he will never forget. Two silent, neglected children – fifteen-year-old Maude and five-year-old Jack – are waiting for him at a crumbling country house. Upstairs, their mother lies dead.

Twenty years later, a body surfaces in the icy black waters of the River Corrib. At first it looks like an open-and-shut case, but then doubt is cast on the investigation’s findings – and the integrity of the police. Cormac is thrown back into the cold case that has haunted him his entire career – what links the two deaths, two decades apart? As he navigates his way through police politics and the ghosts of the past, Detective Reilly uncovers shocking secrets and finds himself questioning who among his colleagues he can trust.

I ripped through this one, a deliciously tangled web of mystery spanning multiple decades. It was the perfect book to get me out of a slight reading slump.

My first McTiernan, so I’m very excited to dive more into her catalogue over the next few months!