Creative writing and literary studies

Bloom leads us through the labyrinthine paths which link the writers and critics who have informed and inspired him for so many years. The result is "a critical self-portrait," a sustained meditation on a life lived with and through the great works of the Western canon.

Lively and learned, this up-to-date guide to literary words and concepts is an essential volume for every student and reader of literature. David Mikics sketches the derivations and history of each term, offers useful bibliographic suggestions for most entries, and clarifies the often confusing terrain of literary theory today.

Contains two lectures on this important subject by the distinguished literary critic Sir Frank Kermode. In essays that were originally delivered as Tanner Lectures at Berkeley, Kermode reinterprets the question of canon formation in light of two related and central notions: pleasure and change.

The bewildering variety of approaches, theorists and technical language is lucidly and expertly unravelled. Unlike many books which assume certain positions about the critics and the theories they represent, Peter Barry allows readers to develop their own ideas once first principles and concepts have been grasped.

A wide-ranging anthology of classic essays and important recent statements on the mission and methods of comparative literary studies. This pioneering collection brings together thirty-two pieces, from foundational statements by Herder, Madame de Staël, and Nietzsche to work by a range of the most influential comparatists writing today.

A stunning debut novel by a masterful writer telling the heartwrenching story of a young boy and his alcoholic mother, whose love is only matched by her pride. Shuggie Bain is the unforgettable story of young Hugh "Shuggie" Bain, a sweet and lonely boy who spends his 1980s childhood in run-down public housing in Glasgow, Scotland. Thatcher's policies have put husbands and sons out of work, and the city's notorious drugs epidemic is waiting in the wings. Shuggie's mother Agnes walks a wayward path: she is Shuggie's guiding light but a burden for him and his siblings. She dreams of a house with its own front door while she flicks through the pages of the Freemans catalogue, ordering a little happiness on credit, anything to brighten up her grey life. Married to a philandering taxi-driver husband, Agnes keeps her pride by looking good--her beehive, make-up, and pearly-white false teeth offer a glamorous image of a Glaswegian Elizabeth Taylor. But under the surface, Agnes finds increasing solace in drink, and she drains away the lion's share of each week's benefits--all the family has to live on--on cans of extra-strong lager hidden in handbags and poured into tea mugs. Agnes's older children find their own ways to get a safe distance from their mother, abandoning Shuggie to care for her as she swings between alcoholic binges and sobriety. Shuggie is meanwhile struggling to somehow become the normal boy he desperately longs to be, but everyone has realized that he is "no right," a boy with a secret that all but him can see. Agnes is supportive of her son, but her addiction has the power to eclipse everyone close to her--even her beloved Shuggie. A heartbreaking story of addiction, sexuality, and love,Shuggie Bain is an epic portrayal of a working-class family that is rarely seen in fiction. Recalling the work of Édouard Louis, Alan Hollinghurst, Frank McCourt, and Hanya Yanagihara, it is a blistering debut by a brilliant novelist who has a powerful and important story to tell.

More than fifteen years after the events of The Handmaid's Tale, the theocratic regime of the Republic of Gilead maintains its grip on power, but there are signs it is beginning to rot from within. At this crucial moment, the lives of three radically different women converge, with potentially explosive results. Two have grown up as part of the first generation to come of age in the new order. The testimonies of these two young women are joined by a third voice: a woman who wields power through the ruthless accumulation and deployment of secrets. As Atwood unfolds The Testaments, she opens up the innermost workings of Gilead as each woman is forced to come to terms with who she is, and how far she will go for what she believes.

Teeming with life and crackling with energy - a love song to modern Britain, to black womanhood. Follows the lives and struggles of twelve very different characters. Mostly women, black and British, they tell the stories of their families, friends and lovers, across the country and through the years. Joyfully polyphonic and vibrantly contemporary, this is a gloriously new kind of history, a novel of our times: celebratory, ever-dynamic and utterly irresistible.

In this unnamed city, to be interesting is dangerous. Middle sister, our protagonist, is busy attempting to keep her mother from discovering her maybe-boyfriend and to keep everyone in the dark about her encounter with Milkman. When first brother-in-law sniffs out her struggle, and rumours start to swell, middle sister becomes 'interesting'. The last thing she ever wanted to be. To be interesting is to be noticed and to be noticed is dangerous.

The American Civil War rages while President Lincoln's beloved eleven-year-old son lies gravely ill. In a matter of days, Willie dies and is laid to rest in a Georgetown cemetery. Newspapers report that a grief-stricken Lincoln returns to the crypt several times alone to hold his boy's body. From this seed of historical truth, George Saunders spins an unforgettable story of familial love and loss that breaks free of realism, entering a thrilling, supernatural domain both hilarious and terrifying. Willie Lincoln finds himself trapped in a transitional realm - called, in Tibetan tradition, the bardo - and as ghosts mingle, squabble, gripe and commiserate, and stony tendrils creep towards the boy, a monumental struggle erupts over young Willie's soul. Unfolding over a single night, Lincoln in the Bardo is written with George Saunders' inimitable humour, pathos and grace. Here he invents an exhilarating new form, and is confirmed as one of the most important and influential writers of his generation. Deploying a theatrical, kaleidoscopic panoply of voices - living and dead, historical and fictional - Lincoln in the Bardo poses a timeless question: how do we live and love when we know that everything we hold dear must end?

The Chair of judges, Amanda Foreman, comments: ‘The Sellout is a novel for our times. A tirelessly inventive modern satire, its humour disguises a radical seriousness. Paul Beatty slays sacred cows with abandon and takes aim at racial and political taboos with wit, verve and a snarl.’

Chair of judges' Michael Wood: ‘This book is startling in its range of voices and registers, running from the patois of the street posse to The Book of Revelation. It is a representation of political times and places, from the CIA intervention in Jamaica to the early years of crack gangs in New York and Miami.

The chair of judges Robert Macfarlane described the book as a “dazzling work, luminous, vast”. It is, he said, “a book you sometimes feel lost in, fearing it to be 'a big baggy monster', but it turns out to be as tightly structured as an orrery”.

Chair of judges' Sir Peter Stothard: ‘This is a bloody story about the death of Anne Boleyn, but Hilary Mantel is a writer who thinks through the blood… we have the greatest modern English prose writer reviving possibly one of the best known pieces of English history’

Chair of judges' Dame Stella Rimington: "It is a very readable book, if I may use that word, but readable not only once but twice and even three times. It is incredibly concentrated. Crammed into this short space is a great deal of information which you don't get out of a first read."

Demystifies the process of creative writing, showing that successful work arises not from talent or inspiration alone. Hazel Smith breaks down writing into incremental stages, revealing processes that are often unconscious or unacknowledged, and shows how they can become part of a systematic writing strategy.

McNally acts as the writer’s friendly drill sergeant, relentlessly honest but bracingly cheerful as he issues his curmudgeonly marching orders. Alternately cranky and philosophical, full of to-the-point anecdotes and honest advice instead of wonkish facts and figures. A droll, truthful, and immensely helpful map to being a writer in today’s complex world.

Tim Mayers explores the nature of the contemporary English department with the intent of drawing connections between the usually separate fields of creative writing and composition studies.

An accessible guide to the entire creative writing process, referring to a wealth of examples from writers such as Umberto Eco, Terry Prachett and Ian Fleming. Topics include how children learn to write, the visual design of text, and the impact of technology on writing.

Creative writing and academic research can seem uncomfortable bedfellows. But in this learned, practical book, Jen Webb shows how 'research practices can invigorate writing; creative practices can invigorate research; and - if properly organised and managed - creative writing can operate as a mode of knowledge generation, a way of exploring problems and answering questions that matter in our current context'. Researching creative writing enables writer-researchers to craft a toolkit that will help them produce better creative work and more rigorous research work.