Faber & Faber

ROUGH TRADE AND CAUGHT BY THE RIVER BOOK OF THE MONTH

The Lark Ascending, Ralph Vaughan Williams' 'pastoral romance for orchestra' was premiered on 14 June, 1921. Over the course of the twentieth century this piece of music, perhaps more than any other, worked its way into the collective consciousness to seemingly define a mythical concept of the English countryside: babbling brooks, skylarks, hayricks. But the birth and legacy of the composition are much more complex than this simplified pastoral vision suggests. The landscape we celebrate as unsullied and ripe with mystique is a living, working, and occasionally rancorous environment - not an unaffected idyll - that forged a nation's musical personality, and its dissenting traditions.

On a chronological journey that takes him from postwar poets and artists to the late twentieth century and the free party scene which emerged from acid house and travelling communities, Richard King explores how Britain's history and identity has been shaped by the mysterious relationship between music and nature. From the far west of Wales to the Thames Estuary and the Suffolk shoreline, taking in Brian Eno, Kate Bush, Boards of Canada, Dylan Thomas, Gavin Bryars, Greenham Common and The Kinder Scout Mass Trespass, The Lark Ascending listens to the land and the music that emerged from it, to chart a new and surprising course through a familiar landscape.

LONGLISTED FOR THE EDINBURGH FESTIVAL FIRST BOOK AWARD

Thirteen stories set in Rio' largest favela, gravitating around the lives of young boys and men who, in spite of having to deal with the anguish and difficulties inherent to their age, also struggle with the violence involved in growing up on the less favoured side of the ‘Broken City'.

They smoke weed, sell weed, and notice the smell of weed lingering on the clothes of passersby in the streets. A boy steals his security-guard father's gun to show it to his friends. A young man steals purses for kicks, another relapses into an old graffiti habit, while another runs into trouble disposing of a body. Drugs and poverty colour them, but these stories also depict the pain of growing up with attendant hopes and desires.

Geovani Martins has produced a spellbinding debut about masculinity, corruption, guilt, poverty and resilience. It is a story collection is completely of our time yet promises to be profoundly timeless, one that animates and humanises the people of a city whose humanity is often obscured by its own reputation.

A darkly ironic novel of ideas, a dystopia, and an absurdist thriller, from the award-winning novelist

Self-anointed guru of the Digital Age, Guy Matthias, CEO of Beetle, has become one of the world’s most powerful and influential figures. Untaxed and ungoverned, his trans-Atlantic company essentially operates beyond the control of Governments or the law.

But trouble is never far away, and for Guy a perfect storm is brewing: his wife wants to leave him, fed up with his serial infidelities; malfunctioning Beetle software has led to some unfortunate deaths which are proving hard to cover up; his longed for deal with China is proving troublingly elusive and, among other things, the mystery hacker, Gogol, is on his trail.

With the clock ticking- Guy, his aide Douglas Varley, Britain’s flailing female PM, conflicted national security agent Eloise Jayne, depressed journalist David Strachey, and Gogol, whoever that may be - the question is becoming ever more pressing, how do you live in reality when nobody knows anything, and all knowledge, all certainty, is partly or entirely fake?

POETRY BOOK SOCIETY RECOMMENDATION

Flèche (the French word for ‘arrow’) is an offensive technique commonly used in fencing, a sport of Mary Jean Chan’s young adult years, when she competed locally and internationally for her home city, Hong Kong. This cross-linguistic pun presents the queer, non-white body as both vulnerable (‘flesh’) and weaponised (‘flèche’), and evokes the difficulties of reconciling one’s need for safety alongside the desire to shed one’s protective armour in order to fully embrace the world.

Central to the collection is the figure of the poet’s mother, whose fragmented memories of political turmoil in twentieth-century China are sensitively threaded through the book in an eight-part poetic sequence, combined with recollections from Chan’s childhood. As complex themes of multilingualism, queerness, psychoanalysis and cultural history emerge, so too does a richly imagined personal, maternal and national biography. The result is a series of poems that feel urgent and true, dazzling and devastating by turns.