Ireland

Sarah Moss is a prolific and vital novelist whose books encompass an array of subjects from Victorian social reform and 19th-century Japan to broken Brexit Britain and eating disorders. She combines teaching at University College, Dublin with writing in real time: The Fell, set during the second lockdown, came out in the summer of 2021, while My Good Bright Wolf, an experimental memoir about her anorexic breakdown in late 2020, was published last year. A forthcoming Channel 4 adaptation of Summerwater, which explored national identity and isolation against the backdrop of a soggy Scottish holiday park, may catapult her into the sort of gold-foil territory enjoyed by Maggie O’Farrell or

Everyone has their own William Blake and each age finds something new in the ocean of his work: revolutionary Blake, Christian Blake, humanist Blake, Jungian Blake, Freudian Blake, free-love Blake, hippy Blake, occult Blake, eco-Blake. The only time that missed out was his own – then he was mad, delusional and ignored Blake. Philip Hoare brings the fizz of his own sensibility to bear on the work of a man whose progeny of artistic spin-offs multiply with each passing generation. The result is a book that is neither Blake biography nor critical analysis nor legacy-tracing nor personal odyssey but a capacious mixing of them all. As the author of Leviathan

Nearly a decade after Eimear McBride published The Lesser Bohemians (her second novel after the success of A Girl is a Half-Formed Thing),the Irish writer has returned to the drab, smoke-filled world of 1990s London. The City Changes its Face is told from the perspective of 20-year-old Eily, two years after she has left Ireland to study drama in London and has met Stephen, an established actor 20 years her senior. In the interim period, the pair have moved from Kentish Town to Camden. Eily has taken time out of drama school, and Grace, Stephen’s daughter from a previous relationship, has made an appearance. The novel consists largely of a

Our immiseration came swiftly and stealthily. At the start of the 21st century, Britain was a prosperous country. Ambitious people fought to come here. We trusted that, over time, we would become wealthier – an expectation that had been accurate for most of the previous two centuries. Since the millennium, Britain and western Europe have pretty much stopped growing – especially if we ignore the impact of immigration and calculate GDP per head. Reversing this slowdown should be the top issue at every election, but it is surprisingly under-discussed. In theory, almost all our politicians want growth. Keir Starmer and Rachel Reeves keep describing it, nasally and tautologically, as their

Maeve Brennan (1917-93) was a supremely gifted Irish/American writer, whose work is periodically rediscovered, only to vanish again. It’s as if her literary reputation (she has been compared with Joyce, Flaubert and Chekhov among others) won’t stay fixed and is as homeless as she herself became. Arriving home to Dublin, Anastasia expects a warm welcome – only to be steadily spurned by her grandmother Aged 32, she secured a job at the New Yorker, contributing sardonic observations of city life as well as wry, melancholy short stories, part-fiction, part-memoir. The Visitor, her only novella, written in her late twenties when she was working as a journalist in Manhattan, remained unpublished