category: Fiction

GLORIOUS EXPLOITS featured in the Irish Sunday Independent and was picked as the Bookseller book of the month for its publication in January. US Rights were acquired by Henry Holt & Co, who will publish in March.

It’s 412 BC, and Athens’ invasion of Sicily has failed catastrophically. Thousands of Athenian soldiers are held captive in the quarries of Syracuse, starving, dejected, and hanging on by the slimmest of threads.

Lampo and Gelon are local potters, young men with no work and barely two obols to rub together. When they take to visiting the nearby quarry, they discover prisoners who will, in desperation, recite lines from the plays of Euripides for scraps of bread and a scattering of olives.

And so an idea is born: the men will put on Medea in the quarry. A proper performance to be sung of down the ages. Because after all, you can hate the Athenians for invading your territory, but still love their poetry.

But as the audacity of their enterprise dawns on them, it becomes increasingly difficult to distinguish between enemies and friends. As the performance draws near, the men will find their courage tested in ways they could never have imagined …

FERDIA LENNON was born in Dublin to an Irish mother and Libyan father. He holds a BA in History and Classics from University College Dublin and an MA in Prose Fiction from the University of East Anglia. His short stories have appeared in publications such as the Irish Times and the Stinging Fly. In 2019 and 2021, he received a Literature Bursary Award from the Arts Council of Ireland. After spending many years in Paris, he now lives in Norwich with his wife and son.

Praise

“Bold and totally unexpected, I loved this book” Douglas Stuart, author of Shuggie Bain

“A very special, very clever, very entertaining novel” Roddy Doyle, author of Paddy Clarke, Ha Ha Ha

“Bold and totally unexpected, I loved this book. A brilliant novel about friendship, the healing power of art, and why we must fight for our dreams. I was hooked from the first page” Douglas Stuart, author of Shuggie Bain

“In At Swims-Two-Birds, Flann O’Brien gave us cowboys riding through Dublin. Now, Ferdia Lennon gives us modern-day Dubliners living among the ancient Greeks. This is a very special, very clever, very entertaining novel!” Roddy Doyle

“As thrilling for me as the first time I picked up a Kevin Barry novel. Glorious Exploits is exuberant, funny, lyrical and profoundly moving. It is, quite simply, a rare beauty” Sarah Winman, author of Still Life

“Glorious Exploits stinks of misery, despair, love, war, poetry, reckless ambition, terrible failure, and glorious triumph. It’s a novel thick with the stuff of the Classics, in other words. A delicious treat of a read. I loved it” Jon McGregor

“With all the blunt humanity of Roddy Doyle, Glorious Exploits is a vividly conjured vision of the past. Madly ambitious, cathartic like all great tragedy, but shockingly funny too, Ferdia Lennon’s outstandingly original début is just glorious” Emma Donoghue, author of Room

“What a voice! What a story! A darkly funny double act from Lampo and Gelon, sandwiched in between the transformative experience of theatre and forgiving your enemies. I loved it from the first line” Claire Fuller

“Sublime. Pitch-perfect dialogue, a fast-moving story that is both dark and lyrically beautiful, tragic and funny in equal measure. Glorious Exploits is an astonishingly original and gripping story of brotherhood, war and art. Ferdia Lennon is a fierce new talent.” Rebecca Stott, author of In the Days of Rain

“A glorious thunderbastard, with a unique, stark voice that is expertly drawn. It is cheeky, contemplative and sly with an outrageous sense of humour and a massive heart. Lennon beats you with a club then whispers you poetry. It is harsh and fun in a way that few other books are … A book like this is long overdue and very welcome. Thank the Gods.” Rory Gleeson, author of Rockadoon Shore

“Glorious Exploits is an agonising exploration of the cost of violence, for both its winners and losers. It is also a reminder of how dangerous and radical the making of art can be, as the attempt to stage Medea with prisoners-of-war in 412 BC comes to represent war’s opposite. This perfect first novel is a tragicomic masterpiece. Ferdia Lennon has created a story worthy of the Athenians: mortal, maddening, heart-mending.” Clare Pollard, author of Delphi

“What a truly magnificent novel this is: in turns riotous, brutal and deeply affecting. I am in no doubt that Ferdia Lennon is the real deal. His captivating storytelling resonates with all the beauty of Euripides’ plays.” Imogen Hermes Gowar, author of The Mermaid and Mrs Hancock

They say she’s a murderer. She says nothing.

London, 1954. Eva Georgiou has just returned from her shift at the glamorous Café de Paris, when she’s summoned to her second job: Greek interpreter for the Metropolitan Police. There, she is tasked with representing Zina Pavlou, a Cypriot woman who has been accused of the brutal murder of her daughter-in-law who has been bludgeoned, strangled and then set alight.

Eva gets to work as Zina’s translator, but her concern grows that the case may be more complicated than it seems. Then Zina changes everything when she reveals she’s been accused of murder once before, years ago in Cyprus.

While Eva’s obsession with the case deepens, so does her bond with Zina. And soon she will discover that when you lend your voice to an accused murderer, it comes at a devastating cost.

Eleni Kyriacou was born and raised in London to Greek Cypriot parents. She’s an award-winning editor and journalist and she has appeared in publications such as the Guardian, the Observer, Marie Claire, Red and Stella. She’s written on a wide range of topics including adoption, relationships, travel, self-development, the arts and women’s health. Her first novel She Came to Stay was published by Hodder in 2020. She is represented by Abi Fellows at DHH Literary Agency.

I looked around at my flat, at the woodchip wallpaper and scuffed furniture, and realised that I did have a life after all. What it didn’t have in it was a cat.

When Rhiannon fell in love with, and eventually married her flatmate, she imagined they might one day move on. But this is London in the age of generation rent, and so they share their home with a succession of friends and strangers while saving for a life less makeshift. The desire for a baby is never far from the surface, but can she be sure that she will ever be free of the anxiety she has experienced since an attack in the street one night? And after a childhood spent caring for her autistic brother does she really want to devote herself to motherhood?

Moving through the seasons over the course of lockdown, The Year of the Cat nimbly charts the way a kitten called Mackerel walked into Rhiannon’s home and heart, and taught her to face down her fears and appreciate quite how much love she had to offer.

Rhiannon Lucy Cosslett writes columns and reviews fiction for the Guardian, and has also written for the Observer Magazine, i newspaper, Vogue, TIME, the New Statesman, Stylist, Elle, and many other publications. She is the author of a novel, The Tyranny of Lost Things. Raised in Wales, she now lives in north London. She is represented by Eleanor Birne at PEW Literary Agency.

No life exists outside the times.

This is a story about one young woman coming of age, and about the place and time that shaped her: the North of England in the 1970s and 80s.

About the scorching summer of 1976 – the last Catherine Taylor would spend with both her parents in their home in Sheffield.

About the Yorkshire Ripper, the serial killer whose haunting presence in Catherine’s childhood was matched only by the aching absence of her own father.

About a country thrown into disarray by the nuclear threat and the Miners’ Strike, just as Catherine’s adolescent body was invaded by a debilitating illness.

About 1989’s ‘Second Summer of Love’, a time of sexual awakening for Catherine, and the unforeseen consequences that followed it.

About a tragic accident, and how the insidious dangers facing women would became increasingly apparent as Catherine crossed into to adulthood.

Catherine Taylor was born in Waikato, New Zealand and grew up in Sheffield, South Yorkshire from the age of three. She studied English and Philosophy at Cardiff University and has worked in the book industry since 1992, for, variously, the British Library, Microsoft Encarta, Amazon, The Folio Society and most recently as the deputy director of English PEN. She is a book critic and features writer for Guardian Review, New Statesman, FT Life & Arts, The Economist, Times Literary Supplement, Irish Times, Prospect and the i. She is co-founder of the Brixton Review of Books, a non-profit literary quarterly, and editor of The Book of Sheffield: A City in Short Fiction (Comma Press, 2019) which was chosen as the Big City Read 2020 by Sheffield Libraries. The Stirrings: Essays in Northern Time is forthcoming from Weidenfeld & Nicolson.

 

When you wake up without your memories, who can you really trust?

Pioneering scientist Iris Henderson chose to be her own first test-subject for an experimental therapy, placing a piece of technology into her brain. At least, this is what everyone tells her. Trouble is, Iris is now without her memories so she doesn’t know what the therapy is or why she would ever decide to volunteer for it.

Everyone warns her to leave it alone, but Iris doesn’t know who to trust. As she scratches beneath the surface of her seemingly happy marriage and successful career, a catastrophic chain of events is set in motion. Secrets will be revealed that have the capacity to destroy her whole life, but Iris can’t stop digging.

Alice McIlroy attended the Faber Academy’s ‘Writing A Novel’ course in 2018 where she started writing her debut. Since then, The Glass Woman has been long listed for the Stylist Prize for Feminist Fiction 2021 and she is currently undertaking a PhD in Creative and Critical Writing at the University of East Anglia. Alice is represented by Sam Copeland at RCW Literary Agency.