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Italy in the early 1960s: a dying painter considers the sacrifices and losses that have made him an enigma, both to strangers and those closest to him. He begins his last life painting, using the same objects he has painted obsessively for his entire career - a small group of bottles. In Cumbria 30 years later, a landscape artist - and admirer of the Italian recluse - finds himself trapped in the extreme terrain that has made him famous. And in present-day London, his daughter, an art curator struggling with the sudden loss of her twin brother while trying to curate an exhibition about the lives of the twentieth-century European masters, is drawn into a world of darkness and sexual abandon. Covering half a century, this is a luminous and searching novel, and Hall's most accomplished work to date.
‘Ask me to paint anything you wish and I will try no matter how specific or surreal your demands. You name it. I’ll paint it. On Paint.’ Jim has painted some truly unhinged requests – from ‘Kanye West giving birth to himself’ and 'Ross Kemp on toast' to 'A swan wearing Björk as a dress' and ‘Bill Oddie beating Hitler at Catchphrase’ – each brought to life with painstaking detail using nothing but an archaic version of Microsoft Paint and an optical mouse. Many have since become beloved icons of British internet culture, such as ‘The chestburster scene from Alien portrayed by famous TV puppets’ and the infamous 'Tory Squat Party'. Of Mouse and Man is the very best of Jim’s first five years of work alongside never-before-seen material and unique insights into his creative process.
The third novel starring Montana's fly fisherman-cum-detective Sean Stranahan, for fans of C. J. Box and Craig Johnson Wolves howl as a riderless horse returns at sunset to the Culpepper Dude Ranch in the Madison Valley. The missing woman, Nanika Martinelli, is better known as the Fly Fishing Venus, a red-haired river guide who lures clients the way dry flies draw trout. As Sheriff Martha Ettinger follows hoof tracks in the snow, she finds one of the men who has fallen under the temptress’s spell impaled on the antler tine of a giant bull elk, a kill that’s been claimed by a wolf pack. An accident? If not, is the killer human or animal? With painter, fly fisherman, and sometimes private detective Sean Stranahan’s help, Ettinger will follow clues that point to an animal rights group called the Clan of the Three-Clawed Wolf and to their svengali master, whose eyes blaze with pagan fire. In their most dangerous adventure yet, Stranahan and Ettinger find themselves in the crossfire of wolf lovers, wolf haters, and a sister bent on revenge, and on the trail of an alpha male gone terribly wrong.
“A sassy heroine . . . [Henrie O] says what she thinks (when it serves her purposes) and pulls no punches.”—Chicago Sun-Times When arrogant media magnate Chase Prescott is nearly killed by a box of cyanide-laced candy, he dials his long-ago lover, retired newshound Henrietta O’Dwyer Collins, with a simple request: He’ll assemble all the suspects if Henrie O will kindly point out the would-be murderer. It’s a case—her first—that fills Henrie O with grave misgivings, especially when she arrives on Chase’s private island off the South Carolina coast to meet the players in this deadly drama. Among Prescott’s unstable young wife, his sullen stepson, and his toady of a secretary, she has trouble narrowing the field of suspects—even when a second attempt is made on Chase’s life. As Henrie O unearths a will and fascinating new evidence, a killer hurricane sweeps up from Cuba, threatening to maroon them in this vacation hell . . . where the trappings of luxury are put to lethal use and the secrets of the past have the power to engulf them all.
When the necrons rise, a mining planet descends into a cauldron of war and the remorseless foes decimate the human defenders. Salvation comes in an unlikely form – the Death Korps of Kreig, a force as unfeeling as the Necrons themselves. When the two powers go to war, casualties are high and the magnitude of the destruction is unimaginable.
'The Lake District's answer to The Handmaid's Tale.' Guardian England is in a state of environmental and economic crisis. Under the repressive regime of The Authority, citizens have been herded into urban centres, and all women of child-bearing age fitted with contraceptive devices. A woman known as 'Sister' leaves her oppressive marriage to join an isolated group of women in a remote northern farm at Carhullan, where she intends to become a rebel fighter. But can she follow their notion of freedom and what it means to fight for it? 'At the vanguard of the new wave of futuristic dystopian literature . . . an accomplished, provocative novel.' Literary Review 'Hall's fierce and shocking writing captures the cruel beauty of Cumbria.' Telegraph 'A dystopian vision of a disturbingly near future in which the floods have risen and the oil has run out . . . entirely modern and brutally fresh.' Independent
A lyric leap forward from Harry Bauld's playful and passionate debut, The Uncorrected Eye, How to Paint a Dead Man peers so intensely at art that the verse becomes somehow both hallucinatory and colloquial at the same time. The new collection leaves aside the formal dance of some of the earlier work but extends the vivid and often comic explorations of art and the American vernacular. With no-look pathos and sudden jazzy riffs, many of these poems vamp on artists from Renaissance how-to author Cennino Cennini through Canaletto, Rembrandt, Magritte, the German Expressionists, and Picasso, often through dramatic monologues; Bauld also pitches playfully through fellow writers Mark Strand and Joyce Carol Oates, among others, to tap into the turbulent spirit of the moment. "Always now / it seems we look at art and it looks back / at us on trial," as he writes in "The Eyes." One figure that looms large here belongs to 80's avatar Jean-Michel Basquiat, the former street graffiti artist who shot to world-wide fame and died of a drug overdose at twenty seven. Bauld, who spends part of the year in the Basque country and has written previously about that region's complex history, is oddly sensitive to the seemingly merely linguistic tie between Basque and Basquiat. It's the voice of a Basquiat angel in "Annunciation" who says, "You already/gave birth to this flame/you don't know the name of." The painted "dead man" of the title takes on many identities: not only the poet's father but Basquiat, Mark Strand, the victims of a mass shooting--and the shooter himself--as well as each of the artists evoked, having passed ironically under Bauld's gaze from observer to observed, painter to model, creator to subject. "Art is always saying hello and poetry is always saying goodbye," reads the Kenneth Koch inscription to the book's opening poem, the punning and satirical list, "Duals in the Old West." ("The sun is always saying shut up and the moon is always whispering tell me more....") But Bauld sets out not just to burlesque and blur but to erase these teasing but finally facile dualities. This a collection that displays, explores, and ultimately fuses all sorts of opposition: fame and obscurity, serenity and violence, inner and outer experience, what's real and what's imagined. One expects no less from a poet whose own name is an oxymoron. Still, floating above the undercurrent of death-haunted discontent and loss is also a delight-the hello of art, in Bauld's case verbal as well as visual, in the face of elegy's traditional goodbye: "It's what you do after you go down/that counts," he writes in "Self Portrait as Marco Polo as Miles Davis" about the floored boxer Jack Johnson, the first black heavyweight champion. And in "Cadillac Moon," with a sidelong swipe at our current political scene, the poet observes a Basquiat rendering of a car: a set of fantasy wheels that play like four-square in the hands of children who, like the seven artists who will save us, plow their fingers in paint furrows to change all the colors of today's sky, rub out the authoritarian moon and everything under it, making a holy mess and moving on. Tense with the heightened contemporary sounds Bauld discovers in the paintings of the past, How To Paint a Dead Man makes its own holy mess and moves on.
"Hall's writing manages to combine acute sensitivity and daring. ... Visceral and engaging. ... The emotional lives of her characters are skillfully realized in this bright weave of disparate voices–for whom art is at once a way of seeing and a way of life." —The Times (London) The lives of four individuals—a dying painter, a blind girl, a landscape artist, and an art curator—intertwine across nearly five decades in this luminous and searching novel of extraordinary power. With How to Paint a Dead Man, , Sarah Hall, "one of the most significant and exciting of Britain's young novelists" (The Guardian), delivers "a maddeningly enticing read...an amazing feat of literary engineering" (The Independent on Sunday).
Longlisted for the Man Booker Prize 2009, a luminous and searching novel from the author of the Booker-shortlisted The Electric Michelangelo.
"And my soul shall lie for ever under the curse, engulfed and hidden as deeply as the Great Ruby beneath the shadow of Dead Man's Rock."--Goodreads