All your choices are good! Click through to our website (or just email us) to secure your copies. We will dispatch your books by overnight courier or have them ready to collect from our door in Church Street, Whakatū.

Enough About Angels: The Nobel Lecture by László Krasznahorkai (translated from Hungarian by Ottilie Mulzet) $20
There could be no more suitable Nobel laureate for the end of the world than László Krasznahorkai, whose astounding, frequently book-length sentences trace human thought’s struggle against the forces that would ultimately erase it. Although poised always on some sort of cultural event-horizon, Krasznahorkai’s books verbally resist the pull towards annihilation posed by the infinite gravity of social, political, historical, environmental and purely existential impossibilities, and provide glimmers of human authenticity in an increasingly depersonalising world. Pulling a dark literary thread backwards through Bernhard to Kafka, Krasznahorkai’s books have a profoundly hypnotic effect, shot with moments of beauty, exhilaration and clarity. Krasznahorkai’s Nobel Lecture, now available as a small book, typically undermines our understanding of a world we actually fail to understand: in these strange times what we took to be angels are wingless and mute; what we took to be towers are only so because of the slope of the ground; what we took to be failure, incapacity and misfortune are in fact the springboard for existential rebellion. [Paperback with French flaps]
>>Enough about angels!
>>Literature exists in itself.
>>Books by Krasznahorkai.

Beginning Middle End by Valeria Luiselli $35
A mother and a daughter take off on a road trip after the collapse of a marriage. Their journey begins in Sicily during a summer of rapidly-changing winds, volcanic rumbles and sudden tempests. How do you begin again, the mother wonders, if you got the beginning wrong? The trip soon becomes a quest for origins - not just to the familial past across continents, languages and generations, but also further back to a mythical and even geological past. With her daughter coming into her own and her mother showing signs of dementia, the narrator finds herself confronting the primary questions of life: How do stories shape our children's imaginations? How do we situate ourselves deeply in the world while accepting our transience in it? How are a family's memories made and what happens when they disappear? A road novel, a mother-daughter story, a mystery, Beginning Middle End is a shapeshifting novel that offers an exhilarating testament to the power and instability of the stories we hold most dear. [Paperback]
'Mind-expanding and heart-expanding; a summer book for life.' —Ali Smith
'What sets Valeria Luiselli's new novel apart is its clarity, its immediacy, its vividness. Not just the characters, but the very rooms, the views from windows and the streets, are created with precision and lucidity.' —Colm Toibin
'A beautiful, maybe perfect novel.' —Tommy Orange
'An instant classic, Luiselli is at her bravest and most sincere.' —Samanta Schweblin
'A new literary form altogether, where storytelling itself becomes an act of survival and reinvention.' —Monocle
>>Skipping and skimming.
>>Beginnings that are ends and middles that are beginnings.
>>Sound, memory, and new beginnings.
>>Other books by Valeria Luiselli.

An Army of Lovers Cannot Fail by Hélène Giannecchini (translated from French by Anna Moschovakis) $38
A friendship is a filiation we choose. It holds love and laughter; it can extend our sense of the possible. Moved to honour a form of relation often subordinated to romantic and familial ties, and to explore a part of her own history, Hélène Giannecchini pieces together an alternative genealogy of queer ancestors. In searching and sensitive prose, she sifts the past to bring existences deemed 'marginal' into communion with each other, traces of which may remain only in memory and archival fragments. Roving from Casa Susanna, a space of freedom from persecution in McCarthyite North America, to the diary of a man living with HIV in France, and to the life and work of pioneering lesbian photographer Donna Gottschalk, each narrative counters oblivion through loving acts of witness. A slantwise gathering of queer life and activism in the twentieth century, interspersed with images encountered by chance, An Army of Lovers Cannot Fail establishes friendship as a vital political force and offers a moving testament to its liberatory power. [Paperback with French flaps]
'An Army of Lovers Cannot Fail is a florilegium of countersexual kinmaking, survival strategy, lesbian comradeship, dinner parties full of queer ancestors, fugitive photography, transfeminist acting-up, insurrectionary eroticism and pieces of anonymous queer archival ephemera from many lands, brought alive with the help of critical fabulation. The domination of the couple-form over human life can and must be brought to an end, and Giannecchini deftly points to all the places where it is already dead (or perhaps always was). At the heart of this beautiful book lies a deceptively incendiary critique of capitalist society. It asks a direly urgent question: can humanity rise to the challenge of the term "friend"? If not, how do we propose to live together?' —Sophie Lewis
'We could be friends, we could be lovers, we could be comrades. Queer people are specialists in the art of chosen families because we have to be. Giannecchini's book is not just about such bonds, it's made by making them. In a world intent on crushing us all into isolated particles, this is an essential guide for everyone in how to glue together a fuller and deeper life.' —McKenzie Wark
'As someone who has long struggled with conventional ideas of family and marriage, I felt relieved and hopeful reading this searching text. Helene Giannecchini swings open the doors to a great hall of kinship, camaraderie, companionship and neighbourliness. She writes with love and optimism and a desire that we may all become part of communities in which we endeavour, as friends, to hold one another up. This came at a difficult moment in my own life, a period shaped by the death of my father, and I am grateful to have been able to read it.' —Lara Pawson
'At once a memoir and a sociology of friendship, kin, and chosen family, An Army of Lovers is lucid, impassioned and reasoned to a fault. Alternating between intimate, personal narratives and research-based models of kinship, Helene Giannecchini reflects on their myriad permutations and outcomes, and provides us with an urgent, amorous manual for living.' —Moyra Davey

House of Liars by Jenny Williams $38
When single mother and failed novelist Anna Olin is invited to an exclusive residency on a remote island, it feels like an opportunity for artistic redemption. Alongside five other writers, including an old flame whose spark still smolders, she must finish her novel to compete for a million-dollar publishing contract. The catch? One of the writers isn't human; it's an AI. Isolated and under pressure, Anna’s grasp on reality loosens as alliances form fast, seduction beckons, and secrets press closer to the surface—including Anna's own. When she starts receiving cryptic notes and the AI develops frightening new behaviors, Anna must decide what—and who—she's willing to risk if she is to fulfill the darkest fantasies she can't speak aloud, even to herself. A slow-burn psychological thriller about AI, motherhood, and desire—written by a former big tech AI ethics insider—House of Liars delves into the marrow of the coming wave of AI intimacy, where chatbots and agents influence the most personal parts of our lives, with consequences we can’t yet fathom. [Paperback]
"I devoured this novel--its exquisitely imperfect characters, its propulsive mystery, its urgent questions about human desire in the age of artificial everything. House of Liars captures both the perilous moment our world is facing with AI and the dark tensions of modern motherhood: the fantasies, the hunger, and the way women are torn between the lives we choose and the lives we crave. Riveting, tender, and terrifyingly real, this book will keep you up all night reading and then haunt you long after the last page." —Mia Fontaine
"This novel is a rare find-compulsively readable, gorgeously written, and completely original." —Julie Christine Johnson

Cass and the Beast by Claire Mabey and Jill Calder $30
When a fearful beast arrives in the township, Cass finds her courage and is rewarded with a wild and magical journey. The creature takes her on a thundering ride through a forested landscape, leaving the town and people far behind. In the wilderness that is home to the beast, Cass finds adventure, ferocity, and gentleness. And the beast finds its name.  Atmospheric illustrations complement an original narrative voice in this collaboration between an author and illustrator from opposite sides of the world. [Hardback]
”Cass and the Beast is a picture book that affirms the introverted, misunderstood or compassionate child who relishes an imaginative adventure or is brave enough to take risks in real life. Mabey has created a surreal tale of creatures from dreams and nightmares, and what it looks like when children choose not to be afraid. Jill Calder's illustrations have an expressionistic style. Her artwork is detailed yet loose, alternating between wordless and text-filled spreads. The free-flowing lines and layered textures increase the sense of wild motion throughout Cass's journey with the beast. Calder predominantly uses blue, accented with orange, purple and pink, creating a pulsating palette that suggests thrills and excitement and boosts the readers courage to explore the illustrations.” —Joy Lawn, Books + Publishing
>>Look inside!

Communion by Jon Doyle $38
When Mack O'Brien left his home in Port Talbot in Wales for the seminary as a teenager, he didn't imagine he'd be back a decade later, unordained and still at a loss as to what makes for a moral life. He takes a job as a security guard at the local steelworks and begins an uneasy transition into the world he once rejected. When the men of the steelworks organise an unprecedented strike in protest against job cuts, he sees no reason not to go along with it. The last person Mack expects to see in the local club is Siwan Roderick - the woman who appeared out of the blue at the seminary one day to make a confession and swear him to secrecy. Mack kept his word. But as the day of the strike nears, and as he begins to fully understand what
Siwan is planning, Mack is forced to reckon with his loyalty to her and the question of whether an act of violence can ever be justified. [Paperback]
”Gritty and luminous, intelligent and sincere, a radical and transgressive novel in which the profane, the political and the personal are entirely rooted in the sacred. Communion is both tender and confrontational, an immaculate debut with dirt under its fingernails.” —Colin Walsh
”A precise, delicate novel about the complexities of belonging, which gradually and powerfully builds in spiritual intensity. In prose both quotidian and mystical, Communion expands the possibilities of its title in every dimension and marks the arrival of an explosive new talent.” —The Observer
”A highly original book that strips back the traditional architecture of the novel until each paragraph arrives like a short, beautiful breath, and in the silences between, the true voices of Port Talbot are able to sing through. A thrilling evocation of a community.” —Andrew McMillan
”A rare novel. Communion bears witness to quiet accumulating impacts, a tolling, calling out the fundamental question, what happens when the things at the centre of what we try to believe in gutter out, one by one? This is poignant, resounding writing.” —Cynan Jones
>>The sounds of Port Talbot.

Artists, Siblings, Visionaries: The lives and loves of Gwen and Augustus John by Judith Mackrell $33
Augustus was the larger of the two — vivid, volatile, and promiscuous. He was a hero among romantics and bohemians, celebrated as one of the great British talents of his generation. As a woman, Gwen's place in the art world was much smaller, and her private way of working and reserved nature meant it was only long after her death that her tremendous gifts were fully acknowledged. But her temperament was as turbulent as her brother's. She formed passionate attachments to men and women, including a long affair with the sculptor Rodin. And there were other ways in which the two Johns were remarkably alike, as Mackrell vividly reveals. The result is a powerful portrait of two prodigiously talented artists and visionaries, whose experiments with form and colour created some of the most memorable work of the early twentieth century. [Paperback]
”A thoroughly researched and effortlessly written account of the extraordinary lives of Augustus and Gwen John, encompassing painting, of course, but also obsessive love, infidelity, betrayal, family, sibling rivalry and relationships, and how they both subverted society's expectations. A fantastic read - the pages virtually turned themselves.” —Fanny Blake
>>The last laugh.

Miss Cat: The Case of the Curious Canary by Joëlle Jolivet and Jean-Luc Fromental $22
Meet Miss Cat, a private eye with ears on her hat and a nose for mystery! Miss Cat is always keen to get her claws into a new case. When Mr Maximus comes to her detective agency, searching for a kidnapped canary, the scene is set for a tale of crafty crooks, strange secrets, and a huge helping of animal magic. The first in a new graphic novel series for children. [Paperback]
>>Look inside!
>>And there are two more adventures!

Goliath’s Curse: The history and future of societal collapse by Luke Kemp $30
A radical retelling of human history through collapse — from the dawn of our species to the urgent existential threats of the twentieth-first century and beyond — based on the latest research and a database of more than 440 societal lifespans over the last 5,000 years. Why do civilisations collapse? Is human progress possible? Are we approaching our endgame? For the first 200,000 years of human history, hunter-gathering Homo sapiens lived in fluid, egalitarian civilisations that thwarted any individual or group from ruling permanently. Then, around 12,000 years ago, that began to change. Slowly, reluctantly we congregated in the first farms and cities, and people began to rely on lootable resources like grain and fish for their daily sustenance. When more powerful weapons became available, small groups began to seize control of these valuable commodities. This inequality in resources soon tipped over into inequality in power, and we started to adopt more primal, hierarchical forms of organisation. Power was concentrated in masters, kings, pharaohs and emperors (and ideologies were born to justify their rule). Goliath-like states and empires — with vast bureaucracies and militaries — carved up and dominated the globe. What brought them down? From Rome and the Aztec empire and the early cities of Cahokia and Teotihuacan, it was increasing inequality and concentrations of power which hollowed these Goliaths out before an external shock brought them crashing down. These collapses were written up as apocalyptic, but in truth they were usually a blessing for most of the population. Now we live in a single global Goliath. Growth-obsessed, extractive institutions like the fossil fuel industry, big tech, and military-industrial complexes rule our world and produce new ways of annihilating our species, from climate change to nuclear war. Our systems are now so fast, complex and interconnected that a future collapse will likely be global, swift and irreversible. All of us now faces a choice — we must learn to democratically control Goliath, or the next collapse may be our last. [New paperback edition]
>>Self-termination is most likely.

Venus, Vanishing by Rebecca Birrell $38
Berlin, 1928. Hannah is new to the pleasures and freedoms of the city. An artist, a runaway, she is building a new life, loving without boundaries and sketching with a cutting edge. But the party is ending. Hannah begins a recklessly consuming affair with a powerful man’s wife and it soon threatens to do more than ruin both of their reputations. People are disappearing. The shadows of something unspeakable are growing darker. Her art could be the thing that secures her survival – or will deny her any chance of escape. [Paperback]
”This vivid novel of 1930s Berlin asks what it means to make art in an emergency. A skilful and loving restoration of Jewish art and women's lives.” —Eleanor Catton
”A rare and precious combination of emotional warmth and cleverness.” —Sarah Moss
”This book offers us a radiant vision of art against evil, of the endurance of love, ambition and vitality amidst the worst of atrocities and betrayal. A bold, moving novel.” —Megan Hunter
”Venus, Vanishing floored me. It is utterly captivating, from first to last.” —Lauren Elkin
”Extraordinary. Venus, Vanishing moved me deeply; I didn't want it to end. The rare sort of book that brings the past back to trembling life.” —Doireann Ni Ghriofa
>>Art, desire, and the rise of the Third Reich.

How to Win a Trade War: A friendly guide to an unfriendly world by Soumaya Keynes and Chad Bown $39
We used to take trade for granted. Trillions of dollars of goods and services crossed borders each year, made possible by a global, rules-based system. Nobody paid too much attention to supply chains: they just worked. Now, Trump’s latest tariff announcement can crash markets, ruin your pension, and sour decades-long alliances. Brexit can sever Britain from its closest trading partners. China’s export restrictions on rare earths could bring the West’s car production to a crashing halt. Curbs on trade in cutting-edge chips could determine who wins the AI race. The stakes couldn't be higher. In this irreverent guide to our economic world, Keynes and Bown explore the history, players, and rules of trade, asking how we prepare for what the future might hold. Could trade wars lead to hot wars? What can the West learn from China? Timely, funny and informative, How to Win a Trade War argues that the old system is dead. But what will emerge in its place? And ultimately, what is at stake for you, your country, and your company? [Paperback]
”Timely, witty and wise — you could not ask for a better guide to the new economic order.” —Tim Harford
”Full of insight. This is critical reading for anyone trying to make sense of today's trade disputes.” —Chris Miller

A selection of books from our shelves. Click through to find out more:

She Who Remains

The Singularities

House Mother Normal

Aerth

Absence

Departure(s)

Ultramarine

Seasons of Glass and Iron

NEW BOOKS AND BOOK NEWS

Read our latest newsletter and find out what you’ll be reading next.

24 July 2026

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A few years ago, I did a piece of concentrated post-grad study through the art school at Otago Polytechnic. An idea had been pestering me for several years, and I needed a focus to make it over the hump from rattling about in my mind to becoming something actual in the world. I’m usually project-driven when it comes to my art practice, but sometimes an outside structure (deadlines, unexpected conversations, an introduction to whole new bunch of thinkers and artists) is just what you need. Anyway, the study — a great mix of practical experimentation and theory, reading and writing — was perfect for this idea and I finally got it out of my system (mostly). The exciting thing, apart from the study itself (yes, I would do more if time and money weren’t barriers), was what followed: an exhibition and an accompanying book. I never intended to write a book, let alone a book of short stories. That was 2023. The book sold out (admittedly a small printrun) and we reprinted. Now there are just a handful left. So, if you are curious about these stories, interested in jewellery (or objects in general) and our relationship with it (bodily and psychologically), you might like one of the final copies. And it’s also nicely produced, has diagrams and an index, and, although I never intended it, it is surprisingly funny.
(PS: I think there is another book brewing…)

It seemed sometimes that they were even wanting the worst to happen, if only to be relieved of the terrible anticipation that the worst may happen. It seemed sometimes that the worst thing sucks everything else towards it, even our resistance to the worst thing, and the closer we get to the worst thing it seems the less we resist it, just when we would be better to resist it more, until we are drawn over the acquiescence horizon, so to call it, until we are drawn past the point at which the possibility of relief from the effort to resist is stronger than our exhausting effort to resist, the point at which we either try to resist more, which just increases the degree of relief offered by giving up, or we resist less, which draws us closer to giving up. We give up. Of course, we don’t want to be seen to be giving up, not even by ourselves, what we want is a way to be seen to be resisting when in fact we are giving up, what we want is some mechanism that will make it appear that, when the worst happens, it might not have been as bad as it could have been even though it is worse than we could have imagined. How could that they have become a we so easily? A threat presses unrelentingly on the narrator of Krasznahorkai’s text, the threat of the worst thing, the nullification of that narrator, the narrator knows there are assassins on the narrator’s trail, they from whom the narrator flees, they whom the narrator has never seen and may never see, no matter, this just makes the fleeing more urgent, the threat more imminent, the worst that could happen always just on the point of happening if never actually happening. “I know they’ll never relent,” the narrator writes, “it’s as if their orders aren’t to make quick work of me … but rather to keep pursuing me.” The narrator must keep fleeing so as to continue being what a narrator is, the narrator must flee nullification, the narrator must flee into the new. “I have no memories whatever … the past doesn’t exist for me, only what’s current exists … and I rush into this instant, an instant that has no continuation.” The narrator flees in the present tense, the narrator flees by narrating. The text we read is the result of the narrator’s resistance to their own nullification, or, rather, the text is the narrator’s resistance to their own nullification. Obviously. “Life is forever merely the incalculable consequence facing the oncoming process, because there’s nothing that lurks behind the process … for me nothing exists that goes beyond the situation that happens to be at hand,” states the narrator, and if fate, or, rather, the causal mechanisms that we mistakenly label as fate, is nothing but an ineluctable process of destruction, if nullification is a corrolary of being, then we can only exist in our errors, we can only exist to the extent that we make a mistake. “The decisions I make must be the utterly wrong ones.” the narrator states, “that’s how I can confound my pursuers.” Great forces grapple through the text, through the narrator caught within themselves. We all share this pressure upon us that many would mistake for paranoia, no such luck, we all share this problem with time, this snagging in the moment, this agony of being forced on but this terror of no longer going on. “If I were to divine a plan of action of some kind, it would be all over for me,” the narrator states, though, really, is the threat coming from within or from without? But the narrator does divine a plan of action, the narrator is seduced by story, the narrator does start to abrade against their surroundings and against the people in those surroundings by the very fact of their interaction with those surroundings and with those people. The narrator passes the acquiescence horizon without being aware that they are passing the acquiescence horizon. All is lost. Giving up is no less fatal for looking like merely a change of plan. 

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There could be no more suitable Nobel laureate for the end of the world than László Krasznahorkai, whose astounding, frequently book-length sentences trace human thought’s struggle against the forces that would ultimately erase it. Although poised always on some sort of cultural event-horizon, Krasznahorkai’s books verbally resist the pull towards annihilation posed by the infinite gravity of social, political, historical, environmental and purely existential impossibilities, and provide glimmers of human authenticity in an increasingly depersonalising world. Pulling a dark literary thread backwards through Bernhard to Kafka, Krasznahorkai’s books have a profoundly hypnotic effect, shot with moments of beauty, exhilaration and clarity.
Krasznahorkai’s Nobel Lecture, now available as a small book, typically undermines our understanding of a world we actually fail to understand: in these strange times what we took to be angels are wingless and mute; what we took to be towers are only so because of the slope of the ground; what we took to be failure, incapacity and misfortune are in fact the springboard for existential rebellion.

• Enough about angels!

• Literature exists in itself.

• Strings to his bow.

• Speaking to our times of uncertainty.

• Europe’s perilous reality.

• A vast black river of type.

• The reality of the present.

• Why start a press.

• First reactions.

• True life was elsewhere.

• A world author.

• “I didn’t want to be a writer.”

• The other side of the social system.

• Sátántangó (dir: Béla Tarr)

• I don’t need anything from here.

Catch these five books!

Let this week’s flyers land on the top of your reading pile.

MY YEAR IN PARIS WITH GERTRUDE STEIN: A fiction by Deborah Levy $48
As Paris sweeps the narrator of Levy’s latest fiction along in its ceaseless flow, she thinks about what we have to lose to become modern, about navigating anxiety, about living with uncertainty, about angry fathers, about making a new life in another country, about art and language — and how all these things looked to Gertrude Stein in the early days of the twentieth century.

THE VALLEY: Crime and punichment in a New Zealand city by Asher Emanuel $40
‘This is a once-in-a-generation contribution to New Zealand writing about justice, class and wider society. The Valley combines meticulous reporting and deep thinking on the daily grind of the justice system. The result is a monumental book of stories that will stay with you long after you put it down.’ —Max Harris 

NGĀTI KUIA: He pūtake, hei pakiaka ora; A history by Madi Williams $60
Drawing on hundreds of whakapapa, pūrākau, waiata and karakia recorded in nineteenth-century tribal manuscripts and court records, Madi Williams presents Ngāti Kuia history in Ngāti Kuia voices. A vital contribution to the understanding of the history of Te Tauihu-o-Te-Waka-a-Māui (the northern South Island).

TRANSCRIPTION by Ben Lerner $33
Ben Lerner’s new novel considers the transmission of ideas and influence by various means, from the organic mechanisms of culture — family, admiration, language — to the various technologies of capture and broadcast — from personal memory to film to hand-held devices such as the cellphone or the codex.

LAND by Maggie O’Farrell $38
Inspired by the mapping of Ireland in the mid nineteenth century, Land is a novel about separation and reunion, tragedy and recovery, colonisation and rebellion. It is a story of buried treasure, overlapping lives, ancient woodland, persistent ghosts, a particularly loyal dog, and how, when it comes to both land and history, nothing ever goes away. From the author of Hamnet.

A selection of books from our shelves. Click through to find out more:

Having Spent Life Seeking

Lamento

We Are Made of Diamond Stuff

Slug

Echidna

We Are Green and Trembling

No Time for Silence

Lote

New Transgender Blockbusters

The Appointment

She Who Remains

No Money Nice Cock

All your choices are good! Click through to our website (or just email us) to secure your copies. We will dispatch your books by overnight courier or have them ready to collect from our door in Church Street, Whakatū.

I Do Know Some Things by Richard Siken $35
Richard Siken's long-anticipated third collection, I Do Know Some Things, navigates the ruptured landmarks of family trauma: a mother abandons her son, a husband chooses death over his wife. While excavating these losses, personal history unfolds. We witness Siken experience the death of a boyfriend and a stroke that is neglectfully misdiagnosed as a panic attack. Here, we grapple with a body forgetting itself — "the mind that / didn't work, the leg that wouldn't move...". Meditations on language are woven throughout the collection. Nouns won't connect and Siken must speak around a meaning: "dark-struck, slumber-felt, sleep-clogged." To say "black tree" when one means "night." Siken asks us to consider what a body can and cannot relearn. "Part insight, part anecdote," he is meticulous and fearless in his explorations of the stories that build a self. Told in 77 prose poems, I Do Know Some Things teaches us about transformation. We learn to shoulder the dark, to find beauty in "The field [that] had been swept clean of habit." Recommended. [Now in paperback]
"An astonishing feat of poetic prowess. Siken has created 'an encyclopedia of myself,' a kaleidoscope of memory, language and identity that reveals — at times revels — in the faultiness of our own narratives. Siken's voice — and language — is both rooted and aloft, even as he avers that these are not 'poems of song.' Beyond such marvels, this is a virtuosity of candor and technique, bound by a seemingly effortless linguistic choreography that leans into multiplicity and mutability, with continuous sparks and joys, from one of our finest contemporary poets." —Mandana Chaffa, Chicago Review of Books
"The second-person strategies of Crush are abandoned in I Do Know Some Things for a more direct style, but Siken's signature intensity still throbs between sentences. Siken's prose is often deft and exciting. As he relearned everything, the prose poem helped him rediscover how to create poetic tension, how to be dynamic without the gravity-defying magic of enjambment. Syntactic variation. Quick, unexpected shifts in register. Artful repetition. These are all refined strategies in the collection. The prose is also a steadying element. It is another way of not losing oneself, of not falling through the cracks." —Richie Hoffman, Yale Review
>>Read Thomas’s review.
>>Wiped clean.
>>The most fundamental poetic device.
>>Landmarks for meaning.
>>Also available in hardback.

Air by Christan Kracht (translated from German by Daniel Bowles) $33
Two men venture through strange landscapes towards unknowable destinations. Paul, a feted designer, wanders the echoing corridors of a server farm in Norway — before, in a sudden blackout, he seems to vanish. In another time and space, a wounded stranger wakes in a forest, watched over by a young girl who helps him flee to an icebound settlement where perhaps he will find safety. Inventive, enigmatic and chromatically resonant, Air is the seductively disorienting new novel from one of the most significant European writers working today. Heir to the ingenious fictions of Ursula K. Le Guin or Jorge Luis Borges, resistant to single interpretation, it unfolds as a haunting journey through a layered universe that may be a dream, the afterlife or reality's inverted twin. From the author of Eurotrash. [Paperback]
”It is Christian Kracht's fate to be among the last humanists, not to say humans, practising literature as the robots swarm. His Air is part saga, part simulation, which tells of how it feels and how crazy it makes you, to simultaneously hold the mythical and the virtual accountable to true and beautiful words. Kracht is the great German-language writer of his generation.” —Joshua Cohen
”Christian Kracht is a writer we cannot do without today. Air is a transgression — a form of storytelling that reinvents storytelling itself.” —Georgi Gospodinov
”In Kracht's nominal realism, a dreamlike air insistently prevails. You read him for the experience of reading him. You read him and wonder.” —Nell Zink
”Ever since his era-defining debut, Christian Kracht has enjoyed a reputation as both a cult and a canonical author.” — TLS
>>Poignant and fun.

The Writer’s Room: The hidden worlds that shape the books we love by Katie da Cunha Lewin $47
What is it that so fascinates us about the spaces where writers work? Why does a remote cabin, ramshackle shed or library garret, strewn with papers and piled with books, so capture our imagination? The rooms of certain writers are mythologised almost as much as the works themselves: Virginia Woolf’s garden room at Monks House; the Brontë’s study at Haworth; Sigmund Freud’s study, with its famous couch. They are preserved in writers’ houses or recreated in museums, pictured and described in newspaper columns and on Instagram, seemingly standing in for the labour of writing itself. And yet writers, old and new, have worked in all kinds of places and circumstances: in hotels, bedsits and boarding houses, at libraries and while on the move. From Proust’s bedroom to Joan Didion’s portable typewriter, Maya Angelou’s hotel rooms to Ernest Hemingway in Parisian cafés and Michaela Coel’s Arabella with post-it notes in her rented room, Katie da Cunha Lewin dismantles the familiar furniture of the writer’s room and opens it up. Blending cultural critique with the personal and historical, Katie da Cunha Lewin takes us on a fascinating journey through the hidden worlds that shape the books we love. [Hardback]
”Hand in hand with the question 'what do writers do all day?' is '...and where do they do it?'. Katie da Cunha Lewin's book is an intimate delight and radical demystifier, making the conditions, rituals, and set-ups required for writing to happen individual, multiple, and political.” —Jen Calleja
”Katie Da Cunha Lewin's brilliant book is like a matryoshka: each room visited is also a visit to a life, to a work, to a genius's subjectivity and its many obsessions. Da Cunha Lewin successfully attempts to unravel that exact mix of solitude and companionship, protection and exposure, silence and conversation that writing requires. A book of rare skill and complexity for all those who love literature and wonder about it.” —Guadalupe Nettel
>>At the desk.

Hum by Helen Phillips $28
In a hot and gritty city populated by super-intelligent robots called 'Hums', May seeks some reprieve from recent hardships and from her family's addiction to their devices. She splurges on a weekend away at the Botanical Garden - a rare, green refuge in the heart of the city, where forests, streams and animals flourish. But when it becomes clear that the Garden is not the idyll she hoped it would be, and her children come under threat, May is forced to put her trust in a Hum of uncertain motives in order to restore the life of her family. Gripping and unflinching, Hum is about our most cherished human relationships in a world compromised by climate change and dizzying technological revolution, a world with both dystopian and utopian possibilities. [New paperback edition]
Winner of the 2026 Climate Fiction Prize.
”What's more intoxicating than a Helen Phillips novel? Her books have blown open the doors of what's possible with the art of storytelling - and her latest, Hum, is her best work yet: one that captures, with fire and grace, our future and what it means to love, to persist, and to be human. This is a hold-your-breath book. Buckle up and get ready to deeply feel the joy — the thrill, the magic — of reading.” —Paul Yoon
”An indelible family portrait and a narrative tour de force, Hum generates almost unbearable tension and unease from start to end. Stunning, strangely beautiful, and written from a place of deep compassion but also with a clear and analytical eye. Helen Phillips, in typical bravura fashion, has found a way to make visible uncomfortable truths about our present by interrogating the near-future. I loved it.” —Jeff VanderMeer
>>Read Stella’s review.
>>Fake nature.
>>The Disneyfication of nature.

A Place to Stand: A country doctor’s life in Hokianga by Clare Ward $38
Clare Ward is a country doctor living and working in the Hokianga Harbour area in the far north of Aotearoa New Zealand, a sparsely populated area where there are many health challenges. This thoughtful memoir tells the story of Clare's thirty-year working life, the people she works with and the remote and isolated landscape in which she practises. She explores what it means to be Pākehā in this deeply Māori world, writing about this with respect, while also acknowledging her standing as outsider. [Hardback]
>>The man who always slept in his chair.
>>The call of Hokianga.
>>A good grounding.

No New York: A memoir of No Wave and the women who shaped the scene by Adele Bertei $50
In 1975 a young queer singer from Cleveland meets photographer Nan Goldin — an encounter that will lead them to New York's bombed-out downtown, where something unprecedented is brewing. At Max's Kansas City and CBGBs, in derelict lofts and underground clubs, a generation of visionary women artists is rewriting the rules of creativity, sexuality, and power. Adele Bertei didn't just witness the No Wave explosion — she ignited it. As acetone organist for the Contortions and Brian Eno's assistant, she was at the epicenter when punk collided with post-punk, birthing a counterculture that fused music, art, cinema, fashion and outlaw literature into an uncompromising explosion of creativity. While mainstream culture wallowed in sexism and homophobia, these artists and more created something fluid, fierce, and transgressive. Raw, gripping, and illustrated with rare photographs from personal collections, No New York is the definitive insider's account of the women who obliterated every barrier in their path, taking you deep into the artistic and sexual experimentation of an era when true expression mattered more than money or fame. [Hardback]
"An eccentric and energetic tour through a vibrant chapter of New York City music history." —Publishers Weekly
"A love letter to a punk/post-punk era and the female creatives who transformed gender and genre defiance into art." —Kirkus Reviews
"A brutally honest memoir about surviving sexual assault, drinking and drugs, creativity, and finding your own way." —Booklist
"Essential for anyone interested in the history of this particular demi-monde. Bertei has new stories about every denizen of Lower Manhattan of the era and she spins them like a tiny, pugnacious Goldilocks." —The Wire
"No New York focuses on that fertile period in the mid-1970s when punk collided with art on the derelict streets of Manhattan. There is a keen sense of yearning for the youthful possibilities of pre-gentrified New York, and a hint of wonder from Bertei that she was there when all of this stuff was new and cheap and possible." —Uncut Magazine
>>What to do?
>>More than Theorietical Girls.
>>Female commodification.
>>Lionessised?
>>The Contortions.

Ecofeminism by Maria Mies and Vandana Shiva $37
In this groundbreaking work, two world-renowned scholars argue that ecological destruction and industrial catastrophes constitute a direct threat to everyday life, the maintenance of which has been made the particular responsibility of women. In both industrialised societies and the developing countries, the new wars the world is experiencing, violent ethnic chauvinisms and the malfunctioning of the economy also pose urgent questions for ecofeminists. Is there a relationship between patriarchal oppression and the destruction of nature in the name of profit and progress? How can women counter the violence inherent in these processes? Should they look to a link between the women's movement and other social movements? Maria Mies and Vandana Shiva offer a thought-provoking analysis of these and many other issues from a unique North-South perspective. They critique prevailing economic theories, conventional concepts of women's emancipation, the myth of 'catching up' development, the philosophical foundations of modern science and technology, and the omission of ethics when discussing so many questions, including advances in reproductive technology and biotechnology. In constructing their own ecofeminist epistemology and methodology, these two internationally respected feminist environmental activists look to the potential of movements advocating consumer liberation and subsistence production, sustainability and regeneration. They argue for an acceptance of limits and reciprocity and a rejection of exploitation, the endless commoditisation of needs, and violence. [Paperback]
>>Hard work and great joy.

Bookish: A love letter to reading by Lucy Mangan $30
As a child, Lucy Mangan was reading all the time, using books to navigate the challenges and complexities of this world and many others. As an adult, she uses her new relationship with literature to seize upon the most important question — (how) do books prepare us for life? This account of Mangan’s reading life starts at the cusp of teenage, when everything — including the way we read — undergoes a not-so-subtle transformation. Here, Mangan vividly recounts her metamorphosis from young bookworm to bookish adult, from the way school curricula can impact our relationship with literature to the growing pains of swapping the pleasures of re-reading for those of book-hoarding. Revisiting the books of all genres — from thrillers and bonkbusters to historical sagas and apocalyptic zombie stories — that ferried her through each important stages of life — falling in love, finding a job, becoming a mother and navigating grief — Bookish is a coming-of-age in books. It's also an ode to our favourite bookish spaces — from the smallest secondhand bookstalls to libraries, glorious big bookshops and our very own book rooms — and a love story to how books not only shelter our souls through hard times and help us find ourselves when we feel lost, but also help us connect with the people we love through shared stories. [Now in paperback]
>>“Books picked me up on bad days.”
>>Never lost for words.
>>Bookworm dealt with Mangan’s childhood reading.

The Ferryman and His Wife by Frode Grytten (translated from Norwegian by Alison McCullough) $30
How would you spend your last day? And whom would you spend it with? Ferryman Nils Vik chooses to head out onto the fjord, as he has for many years. Today, the 18th of November, his trip is different. As his trusty boat reaches the sea, a lifetime of passengers join him from beyond the grave, among them his rescue dog, the American photographer he thought of as his friend and young Jon Anderson, whose funeral Nils attended. But Nils is truly waiting for just one passenger: his beloved wife Marta, whose absence has marked each day since her passing. [Paperback]
”Uplifting and gentle. Each page is made marvellous. Grytten's characters are intriguing, unique and reassuringly flawed.” —The Times
”A heartfelt reckoning of a human life, with all that it entails. With a grounded, everyday touch, Grytten patiently weaves the slow tapestry of how a human being comes into being — through their relationships, not only with other people, but with the place itself and the lives that inhabit it.” —Lisa Ridzen
”Few novels understand so well that a life can never be summed up and will always overflow its telling. Everything is at stake in these 166 pages, saturated with tenderness, achingly real and profoundly moving.” —Anne Michaels

Stakes: On Dracula and happiness by Noelle McCarthy $37
You have to invite him in. You have to want the vampire’s badness in the house with you. Growing up in Catholic Ireland, Noelle McCarthy is captivated by Bram Stoker’s Dracula. The vampire is a risk-free fantasy, a suave alternative to the fraught realities of desire. Twenty years later, exhausted by her unruly appetites, Noelle returns to Dracula, reckoning with her own history and a changing world: generation-spanning shame and trauma given voice by #MeToo and the horrors emerging from Irish soil. More than a century after readers were first mesmerised by Dracula, Stakes transposes its electric themes of transgression, intoxication and sexual danger onto Noelle’s own life, asking: what’s the difference between an inheritance and a curse? A funny, visceral follow-up to the acclaimed Grand, Stakes celebrates the power of a gothic horror to help you face the parts of life that scare you most. [Paperback]

Where the Earth Meets the Sky: A story of penguins, people and place in Antarctica by Lousie K. Blight $40
Antarctica is the coldest, windiest and most inaccessible part of our planet-and now one of the places most affected by climate change. In this moving narrative, conservation biologist Louise K. Blight recounts her summer studying Adelie penguins. On isolated Ross Island, from which legendary explorers Ernest Shackleton and Robert Falcon Scott attempted the South Pole, Louise and pioneering penguin biologist David Ainley document how the region's penguins are being affected by the world's largest-ever iceberg. The iceberg's impact is geological in scope and life-changing for the tens of thousands of breeding penguins rushing to mate and rear their young. Surrounded by the hypnotic splendour of Antarctica's landscape, Louise and David record details of penguin courtship, incubation, and chick-rearing against a backdrop of the mental and emotional impacts of extreme weather, ongoing isolation and twenty-four hours of daylight. Interwoven with stories of early explorers and modern-day Antarcticans, Louise poetically conveys the isolation and the endless silence that ultimately allows her to explore the grief that has lingered since the untimely deaths of her father and sister. Blending polar travelogue, science and natural history, this is a story about a female scientist navigating Antarctica's extreme conditions and quirky human subculture. [Paperback]
>>An anxious environmental heart.

NEW BOOKS AND BOOK NEWS

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17 July 2027

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Aug 9 – Fog could be called ‘How A Notebook Became a Fiction''. It could be dismissed as a disjointed list, or recognsed for its realist nature, or, more aptly, embraced for its brilliant author’s machinations. Kathryn Scanlan, author of the excellent Kick the Latch, found a five-year diary at an estate auction. Falling apart, worn, and illegible in places, somehow it resonated with her. These notings of daily life; the weather, the visitors, the ordinary weariness of aging. There’s food and gatherings, the deaths and births, iilnesses and misadventures as well as the mundane beauty of life. Our diaries or notebooks are our own, whether that’s your physical journal or digital one. We have our own shorthand, the initials or pet names of our most initimate family and friends. Our own shorthand for tasks, thoughts or feelings. Some of us are visual recorders — a sketch or a doodle; while others will write long paragraphs intermittently. Some of us begin well and peter out before the year is done, leaving crisp pages for another purpose (maybe scoring board games). But back to Scanlan, who spent fifteen years reading, studying and dissecting the diary of this elderly woman. Taking it as inspiration, she has written her own version, a series of fractured, seemingly irrelevant, episodes or jottings. As you read on, allowing yourself to abandon trying to work it all out, patterns of time, people, emotions, weather etc emerge. Here, an ordinary life, captured in a work of both deconstruction, almost destruction, and creation. Through Scanlan and her interpretation or disruption, we find in our hands something remarkable and surprising.

The inability to tell on a coldish day whether the washing you are getting in is actually still a bit damp or merely cold is a universal experience, he thought, at least among those whose experiences include getting in washing on a coldish day, which would not be saying much (‘A’ being the universal experience of those who have had the experience ‘A’) if it were not for the fact that perhaps the majority of people (in whom I am immersed and from whom I am separate) have actually had that experience. Why then, he wondered, is Amy Arnold’s book Lori & Joe the first book I have read that records this experience? And why do I find it so thrilling, he wondered, to read this account of what could be termed a fundamental existential dilemma writ small, why, in my deliberately solitary pursuit of reading this book, am I thrilled by the most mundane possible universal experience? Maybe exactly for that reason, the unexceptional experiences, the fundamental existential dilemmas writ small, are exactly those that connect us reassuringly when we are reading solitarily. What is thought like? What is my own thought like? What is the thought of others like? I am not particularly interested in what is thought, he thought, I am more interested in the way thought flows, surely that is not the word, the way thought moves on, or its shape, rather, if thought can be said to have a shape: the syntax of thought, which, after all is the principal determinant of thought, regardless of its content but also determining its content. If my primary interest is grammar, then what I want from literature is an investigation of form, an adventure or experiment in form. I think but I do not know how I think unless I write it down or unless I read the writings down of the thoughts of another in which I recognise the grammar of my own thoughts. What I think is a contingent matter, he thought. Why washing is called washing when it is in fact not washing but drying is another thing he had wondered but maybe nobody else has wondered this, he thought, it does not appear in this book but this book does not pretend to be exhaustive of all possible thoughts either explicit or implicit in quotidian experiences, though it is fairly exhaustive of all the thoughts that rise towards, and often achieve, consciousness, so to call it, in its protagonist, so to call her, Lori, who takes up her partner Joe’s morning coffee one morning just like every morning and finds him dead, not like any other morning. Lori immediately then sets off on a long loop walk over the Westmorland fells, in typical weather and mud, and the book consists entirely of a record, for want of a better word, of the pattern of her thoughts, looping themselves onto the armature of a fairly constrained present, winding twenty-five years of repetitions and irritations and unexpressed dissatisfactions, such as we all have, I suppose, he thought, memories of all those years since she and Joe came to live in the cottage, their isolation, the landscape, the weather, the routines of mundane existence, ineluctable and cumulatively painful when you think of them, their breeding neighbours, no longer neighbours but no less inerasable for that, the small compromises made when living with another that become large compromises, perhaps less conscious ones but maybe intolerably conscious ones, consciousness after all being what is intolerable, through repetition over decades, all wound over and over and around themselves and around the armature of the present, drawn repeatedly, obsessively to whatever it is that troubles Lori the most, but always turning away or aside without reaching that something, or in order not to reach that something, which remains as a gap in consciousness, unthinkable, but a gap the very shape of itself. Lori & Joe is a remarkable piece of writing that shows us how the mind maintains its claustrophobia even in the most wide-open spaces. Amy Arnold shows how Lori’s thoughts swarm and cluster, accumulate in ruts and run thin over past traumas, stuttering in proximity to the unfaceable that yet shapes everything it underlies. It reminds me, he thought, suspecting that readers of his review might respond better to a little name-dropping than to his attempts to express his own enthusiasm, of works by Jon Fosse and Thomas Bernhard in its fugue-like form, its musicality, so to speak, in the way that it perfectly calibrates the fractality of thought, so to term it, and he wished that he had not so termed it, upon the unremarkable slow progression of the present.

This deeply researched and beautifully presented book traces the origins of early Waitaha and Kāti Māmoe, and the later migrations, conflicts and settlements of the hapū who became Ngāi Tahu. Drawing on tribal knowledge, early written records and archaeological insights, he details the movements, encounters and exchanges that shaped these southern regions. He shows how people lived seasonally from the land and sea, supported by long-distance trade and a deep knowledge of place. These were the communities that the first Europeans encountered, as whalers, sealers and missionaries made their way around the coast.
”With one eye on the universal and the other on the particular, Atholl Anderson reveals how culture and nature shaped one another in southern Te Waipounamu for some five hundred years, down to the mid-nineteenth century.” —Michael Stevens, Professor and Director, Ngāi Tahu Research Centre

• Look inside!

• Tribal history and cultural geography.

• Traditional and wider worlds.

• Chosen by history and archaeology.

• Factors beyond your control.

• Expanding the narrative.

• Atholl Anderson is one of the authors of the taonga Tangata Whenua: An illustrated history.

Catch these five books!

Let this week’s flyers land on the top of your reading pile.

The Things We Never Say by Elizabeth Strout $38
”One of the most profoundly moving books I have read - I envy anyone reading it for the first time. Elizabeth Strout is one of those rare novelists whose books leave you a little wiser, open and more compassionate than you were when you began reading. Her best novel yet.” —Rachel Joyce

Mother Mary Comes to Me by Arundhati Roy $30
Arundhati Roy's first work of memoir is a soaring account, both intimate and inspirational, of how the author became the person and the writer she is, shaped by circumstance, but above all by her complex relationship to her mother, Mary Roy.

THE VALLEY: Crime and punichment in a New Zealand city by Asher Emanuel $40
‘This is a once-in-a-generation contribution to New Zealand writing about justice, class and wider society. The Valley combines meticulous reporting and deep thinking on the daily grind of the justice system. The result is a monumental book of stories that will stay with you long after you put it down.’ —Max Harris 

Son of Nobody by Yann Martel $40
“A brilliant novel of ideas; a powerful meditation on life, death, and the vanity of human wishes, all illustrated by a poem that would do Homer proud. A stunningly imagined revisitation of an ancient past that is every bit as awful as the present.” —Kirkus

TRANSCRIPTION by Ben Lerner $33
Ben Lerner’s new novel considers the transmission of ideas and influence by various means, from the organic mechanisms of culture — family, admiration, language — to the various technologies of capture and broadcast — from personal memory to film to hand-held devices such as the cellphone or the codex.

A selection of good books from our shelves. Click through to find out more:

Good and Evil and Other Stories

Government for the Public Good

No Good

Good Girl

The Good Husbandwoman’s Alphabet

The Good Settler

Good Reasons for Bad Feelings

Good People

All your choices are good! Click through to our website (or just email us) to secure your copies. We will dispatch your books by overnight courier or have them ready to collect from our door in Church Street, Whakatū.

Lamento by Madame Nielsen (translated from Danish by Gaye Kynoch) $40
”Love doesn't have a language; it's an animal, it's theatre of cruelty, it's borderline madness, it's the sublime and is incapable of articulation. It's only long afterwards, once all hope is at an end and the two of you in a sense no longer exist, once you are dead, that it can be told.” Lamento is a love story that questions the possibility of reconciling the magic of infatuation with everyday life. The story begins with a fire — an image which permeates the novel. The narrator, a writer, meets a theatre artist; their love feels ecstatic and utopian, completely untouched by the outside world. With the birth of a child, the weight of the everyday turns their passion destructive. The woman fights for every minute she can to write, while the man abandons family life to focus on his art. Their private drama is further confronted by the jagged realities of colonialism and injustice, forcing them to see themselves as part of a violent history they cannot escape. As love turns to hate, we follow their restless search to understand the enigma of love. In a startling act of reverse auto-fiction, Madame Nielsen — a legendary figure of the Danish avant-garde — inhabits the voice of the woman she once loved to interrogate the man she once was. The result is an unsparing reconciliation of gender and memory, a lament that strips away self-pity to expose the narcissistic cost of creative obsession, and a meditation on how gender alters our experience of the world. [Paperback]
‘Reading Madame Nielsen’s masterfully written and haunting novel Lamento is like drowning in honey with a flail in your mouth.’ —Christian Kracht
‘Lamento: all one could ask from prose, and so much more. Razor-sharp, devastating, lucid – what a voice, what a generous gift to the English readers.’ —Maria Stepanova
‘In this searing work of autofiction, celebrated in the original Danish and now in a luminous English translation by Gaye Kynoch, Madame Nielsen places the artist’s life in a crucible and turns up the heat. By turns defiant and vivid, smouldering and tender, Lamento will captivate any reader who has ever had the misfortune to fall in love.’ —Nancy Campbell
‘A first-person novel about how it may have been to be married to the man she once was. Lamento is a genuinely sorrowful book, both self-obsessed and self-tormenting.’ —Information
>>AMy-former-self-as-not-my-former-self.
>>Who can say who I am and who you are?
>>The nameless man.

plastic by Matthew Rice $33
Set during a single twelve-hour night shift in a factory, plastic is a book-length poem exploring the life of the industrial worker turned poet. Bringing together memoir, ekphrasis and satire, plastic is based on Matthew Rice's experience working in a plastic moulding factory for ten years. Illustrating alienated twenty-first-century Irish labour in poetic form, plastic engages with the inflictions and implications of a 'post-industrial', 'post-Troubles' society, all while weaving in depictions of factory work from literature, film and the visual arts. Time-stamped to highlight the claustrophobia of the worker's experience, this is a poem about feeling a calling while being submerged in the world of menial labour — making plastic airplane parts by night, making poetry by day, uniting what Jacques Rancière calls the 'labourers in love with the intellectual nights' and those 'intellectuals in love with the toilsome and glorious days of the labouring people.' plastic's evocation and lucidity moves with grace through working class realities and hopeful imaginings. [Paperback with French flaps]
'In Matthew Rice's furiously everyday and erudite book, all senses of plastic are in play, but this is first of all a (seemingly autobiographical) study of the rigours of work in a plastics factory in the poet's native Northern Ireland.... In the end, [plastic] is also a poem about knowledge and art: the words and music and imagery that live alongside the night's labour, that make it bearable and at the same time highlight its violence.' — Brian Dillon, 4Columns
'This sardonic, bleakly moving book interrogates ideas of working-class masculinity and intergenerational trauma, with "hell as an idea of what work could be"; there are glimpses of hope in poetry itself, "the treasure buried in my father's field".' —Jennifer Lee Tsai, Guardian
'Whether Rice is observing the enforced machine-order of the production line, evaluating his own thoughts about cinema, music and literature, or empathising with the other workers, each individual short poem is a cherished fragment of perception seeking a moment of freedom from the tyranny of its time-stamp. The poems in plastic both honour and transcend their traditional factory setting, and remind us of how much there could be to gain in the dawning digital era.' —Carol Rumens, Guardian
'With cutting, spare elegance, passages of the long poem tangle with the complex and violent implications of petrochemical supply chains. I kept returning to this line, so apt for plastics: “I wonder for a moment if preservation means perishing in increments.”' —Frieze
>>Hell as an idea of what work could be.
>>Stealing time.
>>The poetry of labour.

And the Waves by Luoyang Chen $33
”Is poetry writing labour? Perhaps I am so damaged that I don't consider writing poetry labour. Every weekend I replenish myself by collapsing and every week I work within a system that is hideous and greasy, that remains ineffective in dealing with whatever it claims to tackle. Imagine this book is about Labour, imagine Labour is being seductive, alienating, and out of control, imagine being f**ked by Labour 24/7, imagine poetry is not Labour... Imagine this book is about 'and' and this book is about 'the waves'. I am essentially the system: ineffective, hideous, greasy... confused. I profit from the work I do, from the system that I am. Then I confront myself. Then I turn to poetry. And if I am successful, I want my poetry to resemble the way my body labours, like the waves, coming and keep coming. There seems no beginning nor end in labour. Across borders of gender, language, immigration, language, experience, and the lyric 'I', I position myself as a non-Subject that confronts Capitalism in my own turn/term.” Divided into five sections, And the Waves investigates the ethics of producing/'labouring' poetry. [Paperback]

On the Couch: Writers analyse Sigmind Freud edited by Andrew Blauner $40
W. H. Auden described Sigmund Freud as “a whole climate of opinion / Under whom we conduct our differing lives.” The controversial father of psychiatry and psychoanalysis, Freud charted the human unconscious, brought us the talking cure, and wrote books that now rank among the classics of world literature. In On the Couch, the analyst is analysed by some of today's writers and thinkers, who help us understand the man who has helped us understand ourselves as much, if not more, than anyone else, ever. The result is a fresh, multifaceted reassessment of Freud's continuing relevance and influence on ideas, literature, culture, science, and more. Here, Colm Tóibin writes about Freud, World War I, Henry James, and Thomas Mann; Adam Gopnik explores Freud's Civilisation and Its Discontents; Susie Orbach considers Freud's 'ordinary unhappiness' and D. W. Winnicott's 'good enough'; Jennifer Finney Boylan reflects on penis envy and gender identity; Peter Kramer describes how new science and drugs have revolutionised psychology since Freud; Susie Boyt, one of Freud's great-granddaughters, spends the night at the Freud Museum in London; Siri Hustvedt examines Freud's divided reception today; and there's much more. On the Couch offers an original and nuanced portrait of Freud as a complex figure who, for all his flaws, forever changed how we see ourselves and the world. Original contributions by Andre Aciman, Sarah Boxer, Jennifer Finney Boylan, Susie Boyt, Gerald Early, Esther Freud, Rivka Galchen, Adam Gopnik, David Gordon, Siri Hustvedt, Sheila Kohler, Peter D. Kramer, Phillip Lopate, Thomas Lynch, Daphne Merkin, David Michaelis, Rick Moody, Susie Orbach, Richard Panek, Alex Pheby, Michael S. Roth, Casey Schwartz, Mark Solms, Colm Toibin, Sherry Turkle. [Paperback]

Your Life Without Me by James Meek $38
Mr Burman is unmoored. Still reckoning with the death of his wife Ada, and struggling to understand his grown-up daughter Leila, he finds himself on a train to London, at the invitation of the police. He is to meet Raf, a young man suspected of trying to blow up St Paul's cathedral — and a man once intimately connected with the Burman family. Have the police laid a trap? This compelling and compassionate novel follows Mr Burman's journey towards the mystery of a radical act and into the true nature of his own family. It asks what a person leaves behind when they've gone, and how much of the past we can carry with us into the future. The long-awaited new novel from the author of The People’s Act of Love. [Paperback]
”James Meek is one of our most consistently brilliant and thought-provoking writers. This is his best novel yet — a dark and unsettling meditation on marriage, fatherhood and architecture. Every page rings with deep truth.” —Alex Preston
”Unsettling and boasting a haunting twist, this is one of our great prose writers on guilt, complicity and forgiveness.” —Observer
”James Meek is a master of the art of the stealthy narrative, and his keen intelligence and alertness are evident on every page of his new novel. Heart-breaking.” —Rupert Thomson
”our Life Without Me follows a retired schoolteacher as he tries to discover whether it was his influence that landed a favourite former pupil in prison for a radical act of destruction. A novel that is a profound and unsettling take on modern life by a writer at the top of his game.” —Kirsty Lang
>>The links between personal trauma, family dysfunction, and political violence.

Awake Awake by Fiona Mozley $38
Mary is struggling with her memory. She does not have too few recollections but too many, including some that are downright absurd. She has many memories of her childhood: going to parties and on school trips, walks with her father and family dinners. She remembers world events too: the falling of the Twin Towers and the Iraq War. But the most concerning memories she has are about her Jewish grandfather and his role in the death of Adolf Hitler. She feels sure — almost completely sure — that what she has been told can't be true, that she must have imagined the whole thing. But there is a doubt. To decipher fact from fiction, Mary goes back over her life, sorting through her childhood and adolescence with her three friends in York, through an adulthood accustomed to tragedy. Guided by her family and friends, Mary attempts to figure out what is real, both in history and her own life, all the while wondering if her mind has conjured everything. [Paperback]
”An incredible achievement, a story of friendship, memory, loss, and moral duty unlike any I've read before . Every character and storyline could be its own novel and yet they come together so thunderously and convincingly. It blew me away.” —Dina Nayeri
”A unique, visionary novel about the toll of memory and the power and fragility of the human heart and mind. Fiona Mozley gives a masterclass in the novel form, showing just how much room for invention we still have. I couldn't put it down.” —Kim Sherwood
”A warm, kindly and beautifully written novel about growing up in a family and in history, about inconvenient memory and haunted repression.” —Sarah Moss
”On the one hand, a clarion call — a clear-eyed view of contemporary moral and political failure in the UK — and on the other, an assembly of engrossing philosophical and metaphysical engagements with the nature of memory. A fascinating read.” —M John Harrison, Guardian
>>In pursuit of false memories.

Borrowed Land: A Highland story by Kapka Kassabova $55
rom the powerful rivers that bring life and prosperity; to the Pictish cairns, undisturbed for centuries; to the meadows of bluebells, where deer emerge, God-like, in a flash, Kapka Kassabova reveals a world that has been abused, but remains achingly beautiful and alive. In the Highlands, centuries-old connections between the land, nature and people have been, and continue to be, shaken by the forces of colonialism, industry, depopulation, and private property speculation. Borrowed Land tells the stories of those who are working against this disconnect: the last true Highlanders fighting to preserve their home. An extraordinary portrait of the Scottish Highlands, this is an epic and urgent story of destruction and renewal, told through encounters with some of the last true Highlanders. [Hardback]
”Combines the detail and intimacy of boots on the ground reportage with the universality of a dark fable. This is a Highland story, but also a global story — a poetic and haunting anatomy of what happens when a world is addicted to extraction.” —James Crawford
”To read Borrowed Land by Kapka Kassabova is to understand what it means to slip one's skin and become a river, a forest or a mountain. This mesmeric and intimate testimony becomes a defiant dreamlike thrum of resistance to corporate greed. Brilliant, daring and urgent.” —Sally Huband
”This is a hugely important, and timely, book. It has filled me with anger and despair, as well as a good deal of hope.” —Angus Peter Campbell
”Essential and revelatory reading. It's full of quiet rage on behalf of the old land — and the health and dignity of the humans that live there — being destroyed by industrial capitalism. It's a wake-up call that exposes the great lie of a profit-driven corporate decarbonisation. Kapka's writing is ferocious and instinctive, and my copy is full of underlined passages and folded corners, so much is there to treasure.” —Kerry Andrew

Digging Deep: Women on New Zealand’s goldfields by Julia Bradshaw $60
The goldfields of nineteenth-century Aotearoa New Zealand have long been talked and written about as almost exclusively male places. Many historians have either ignored women completely or mentioned them only as wives or as prostitutes. But they could and did make their way to these tough, unforgiving environments, often very early on, and not just as the givers of sexual favours, either via marriage or for money, but as adventurers, entrepreneurs and, most of all, as survivors. Until now too little has been known about these remarkable women, who journeyed to Golden Bay, Otago, Marlborough, the wild West Coast and the Thames — or, in the case of Maori, were often already on the fields. But this ground-breaking book changes all that. Based on 30 years of extensive research, Digging Deep tells the stories of the women who set up stores, ran (and often owned) hotels and became wealthy businesswomen, who worked as barmaids and dancers, who raised their children in challenging conditions, sometimes as widows or deserted wives, and who were miners themselves. There were characters aplenty, including Porpoise Maria, Sugar Annie, Dirty Mary and the notorious Mrs Swords, but also many women who were victims of alcoholism and illness or suffered the trauma of rape and the shame of unwanted pregnancy. In Digging Deep Julia Bradshaw has given a voice to the fascinating and forgotten women of the New Zealand goldfields. This lively account, rich in memorable images, fills a long-neglected and significant gap in the social history of our country. Fully illustrated. [Flexibound]
>>Look inside.

Salt Quilt by Airini Beautrais $30
Salt Quilt is a portrait of an uneasy stretch of time. The poet looks back at various episodes of her life and then far ahead, to other lives and ways of seeing. She sheds cynicism, celebrates some constraints and rejects others, and keeps rewriting the endings. Poetry has saved her more than once. On the inside maybe she is becoming a 1980s self-help guy. Many of these poems are a lyric archive of the times and places that still hold their charge. Many are about the aliveness of things we take for granted. Out of the wild medley of experience, and all of this living, dying and losing, comes something fertile and growing. [Paperback]
‘Beautrais writes with a luminous, matter-of-fact intelligence about life’s disappointments, and also life’s consolations, with a level of care and attention that is in its own way a kind of liberation.’ —Noelle McCarthy
>>A relic from the Depression.

The House With Nobody In It by Jon Klassen $25
Here are all the things in this house: a chair, a clock on the wall, a stool, a lamp. And more. What’s missing from this house? Somebody. This is the house with nobody in it. Well, there might be something . . . A saitisfying board board book, this story takes young ones through a recognisable, cosy house, while die cuts introduce just a hint of precarity. This is the house with nobody in it—or is it? Very gently spooky fun [Board book]
>>Look inside the house!

Rome: Classic Recipes from the Eternal City by Lucia Tersigni and Audrey Cosson, with photography by Emanuela Cino $60
Italian food is consistently ranked one of the most popular cuisines in the world and this book contains many of the classics Italian food is known for, from bruschetta al pomodoro to spaghettoni à la carbonara and penne all'arrabiata. The book also has stunning photography of Rome and its environs. With the inclusion of every essential, authentic recipe made easier than ever before, and restaurant recommendations off the traditional tourist path, Rome transports readers to all the delicious sights, smells and flavours of Italy's oldest city.
>>Look inside.

NEW BOOKS AND BOOK NEWS

Mānawatia a Matariki! Reading a book combines past, present and future; memory, perception and imagination into a single transformative experience.

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11 July 2026

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A riotious comic novel of ideas, Seven tells the story of an unnamed philosopher plunged into the strange world of Theodoros Apostalakis: dentist, poet, pursuer of lost things, and obsessive player of ‘Seven’, a revered board game whose champions struggle to hold onto what is most valuable in human life in the face of Artificial Intelligence. Blending academic satire, travel writing, farce, and philosophy into a singular, intoxicating brew, Seven is a literary novel that stretches the boundaries of the form.
"Joanna Kavenna. What a writer." —Ali Smith
"The most brilliant novel I've read in ages, part academic satire, part philosophy of AI and gaming, all hubris-puncturing wisdom worn with such levity that I was cackling from start to finish." —Adam Rutherford
"Philosophical concepts and dizzying speculations on the nature of reality have always featured in Kavenna's novels, but here she ramps up the comedy, interleaving erudite playfulness with characters who are as believable as they are eccentric." —Suzi Feay, Financial Times

• A madcap journey to the limits of philosophy.

• Much in between.

• Bearings.

• Box philosophy.

• All in the mind.

• The novelists who predicted our present.

• The Society of Lost Things.

Megan Hunter writes beautifully. I was beguiled by her first novel, The End We Start From, with its mesmerising poetic language and precise emotional observation of parenthood under pressure. It was cli-fi of a literary nature. When Harpy announced itself, the dials turned a notch or two higher on the pressures of motherhood. This was a darker encounter amid the chaos of betrayal. Language-wise, again, taut and precisely tuned. Days of Light has a luminosity all of its own. Open the book at any page, and the language takes you to the inner world of Ivy and the times she lives through. Opening in 1938, we meet Ivy, nineteen and ready to launch into her ‘adult life’. It’s Easter, war on the horizon. The family gathers. (Think Bloomsbury group. Unconventional.) The guest of honour, her much adored brother Joseph’s fiancée, Frances, is running late for lunch. Although the train is late, all seems right in the world, until the spell of this idyll is broken by a drowning incident. A singular moment that will change Ivy’s world. Swimming under the stars Joseph disappears. Ivy, his swimming companion, can’t save him. All she recalls is a bright shining light. This elusive light will appear in different guises over her lifetime. Days of Light recalls Ivy’s life in 6 precise days; Easter Sunday 1938, April 1938, April 1944, April 1956, April 1965, and Easter Sunday 1999. Frances will appear across these pages (she is like a touchstone for Ivy), and others who are core to her. Bear, the writer, who becomes her older husband. Her fraught relationship with her artist mother, and her more familial love for Anne, their housekeeper. But it is Joseph who propels her onward towards a luminous answer about what life is, almost always just out of reach. Ivy is always searching, looking for an answer beyond herself, in language, in art, and in faith. Ultimately, it is in the moments when she turns toward herself, that something unexpected is ignited. With reviews mentioning Virginia Woolf, Katherine Mansfield and Graham Swift, Hunter has a lot to live up to. Days of Light is luminous in content, structure and language, and a telling portrayal of a woman’s life through changing times.

Hardback in stock, Paperback due September 2026

Novels and parenting are both traditional but unstable technologies of transmission. Neither are ‘resolvable’; both are technologies in which the ‘definitive’ is impossible and in which any attempt at the ‘definitive’ interferes with the transmission. Both progress in a single direction, as a series of moments, but in each moment multiple times are present simultaneously, layered, both present and absent, creating nodes of attention and possibilities for realisation and invention. Both novels and parenting privilege us to the experiences of others (for good or for ill) and through them the experiences of others again and so on, linking the influences of the past to the possibilities of the future. Each technology is a vector for the development of the characters to which it is applied but the more conforming the characters to external parameters the less interesting the result. Novels and parenting are both technologies of transmission, but the measure of their value lies entirely in the reader or child who either receives or resists the transmission according to their needs and in the way most suitable for them. Ben Lerner’s novel Transcription explores the possibilities and limitations of the novel as a technology of transferral while addressing the possibilities and limitations of parenting (both biological and metaphorical or ‘cultural’) as another technology of transferral, all the while contrasting both to the new attention-hungry technologies that are embedded for instance in a cell-phone, and charting how these new technologies have impacted the types of transferral addressed by the novel or by parenthood (biological or metaphorical). The new technologies in their most widely consumed mode tend to provide experiences that are temporally flat, a scrollable inescapable present, even though the moments that comprise that ersatz present are necessarily captured in the past. The ‘present’ of the new technology is discontinuous, uninhabitable, spaceless, compounding, and generally over-literal, inherently disjunctive and competing for attention with the other modes of experience that may be suggested by the actual location or circumstances of the rightful ‘owner’ of that attention. A novel, traditionally embedded in the codex as a hand-held device, offers one way in which attention may push at the limitations of its moment and enlarge its circumstances through an experience of simultaneity; scrolling social media on a cellphone — skimming — allows attention to push at — or be drawn through — the edges of its moment through an experience of algorithmically determined disjunctive seriality (this is not inherently a bad thing (but may (or may not) in effect be a bad thing)). Regardless of the content transferred, the medium is shaping and patterning our experience, though the medium itself is unseen as the transference occurs (which is what makes it a medium). When the narrator of Transcription drops his cellphone into the handbasin at the hotel on his way to conduct what will be the final published interview of his nonagenarian cultural mentor, Thomas, he finds himself unable to admit that he is not recording, and ends up reconstructing the interview from memory. When he admits this at a symposium in the second section of the novel, he is castigated, not unreasonably, by the attendees but it could also be said that Thomas’s voice, especially since his death, now speaks through or inhabits the narrator in a way that would not be possible if that voice was contained by and limited to forensically verified data. The new technologies are technologies of cumulative capture before they are anything else, performing literality and definitivity (even when they are wrong or fake). If the conversation between the narrator and Thomas written for us by the narrator in the first section of the book is an accurate reconstruction of the actual conversation (we play along with the author that there might be such an actual thing so that we can then speculate on the reliability of narrator’s account of it), it would have made a very poor written interview as Thomas is exhibiting post-Covid cognitive decline and the narrator is comically distracted and dense. Fortunately for Thomas’s legacy perhaps, there is no definitive recording of the interview and the narrator has therefore had to use a combination of memory and imagination to construct Thomas’s final interview for publication (of course, we as readers do not get to read this (novels are potentised by what they leave out)). Where a technology of capture literalises what it captures and presents it as definitive, memory and imagination allow the voice to live and change in those it inhabits, to use its force for further and yet further acts of nuance and transmission. Whether we think of this living-on-in-others (especially when the original personage can no longer contribute to or ‘own’ the idea of themselves) as colonisation, theft, or haunting, it demonstrates the transpersonal nature of what we think of as personhood: the idea of us continues to vibrate in others, diminishing but never completely disappearing even when it is no longer consciously noticed. We both receive and transmit; we ourselves are media of transference. The narrator's cultural relationship with Thomas, his mentor, privileges him to Thomas’s voice and to the thoughts it expresses but it also overwhelms the narrator’s own less certain voice. The narrator is the admiring cultural son, dominated by his father, hoping to live up to his standards, too frightened even to admit a misfortune. The narrator’s relationship with Thomas is contrasted, especially in the third section of the book, with that of Thomas’s biological son, Max,who was a university friend of the narrator’s and his double for the purposes of the novel (even Thomas confounds the two). Max’s experience of Thomas and of his shortcomings as a father contrasts with that of the narrator both on matters of fact and of perspective. Their experiences are often co-extensive both in time and space, but are very different. Max sees clearly from his position as the overlooked son, and his longing for and attempts at connection with Thomas are poignant. The narrator and Max each have young daughters who are exhibiting refusals that their parents find distressing and confusing: the cultural son’s daughter refuses to go to school; the biological son’s daughter refuses food. These refusals are also each refusals of transmission, disarming reactions by the otherwise powerless to systems that derive their power from their capacity to withhold. That each of the girls’ problems are ‘overcome’ by means of new technologies is both disconcerting and somehow plausible: the vacuous unboxing videos that enable Max’s daughter Emmie to start to eat again are effective precisely because of their vacuity: with irrelevant content, the underlying pattern of expectation, discovery and satisfaction resonates deeply and reassuringly in a world where expectation, discovery and satisfaction are unstable, undermined and uncertain, especially for the young. What then, though? Do the new media pattern our attention so that they appear to assuage the very problems they exacerbate? We are of course and as always asking the wrong question or only part of the right question. As with any medium we must ask not so much whether it is ‘good’ or ‘bad’ but: in which direction does the power flow, and to whom?