Glyph

AvAli Smith

Inbunden, Engelska, 2026

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Beskrivning

'Playful, bold, tender . . . in Glyph we see a major British writer answering the call of the day' GuardianGhosts don't exist. They don't. End of. Story, however. It is haunting. Everything tells it. It all starts when Petra and her little sister Patch hear a horrifying story from the past and find themselves making up a ghost.Is it imaginary? Is it real?Then it all starts again thirty years later when Petra, now estranged from Patch, finds a phantom horse kicking the furniture to pieces in her bedroom.What to do? She phones her sister.In a chiaroscuro dance through our increasingly antagonistic era, Glyph asks if we’re attending to the history that’s made us and to the history we’re making. A funny, warm and clear-eyed take on where we are now, Glyph is about what our imaginations are for and how, in a broken, brutal and divided time, we rekindle care, solidarity, resistance and openness.This anti-war novel, Ali Smith’s most soulful, playful and vital yet, is a work of lightness that goes deep to counter the forces currently flattening the modern world.A standalone novel, it’s family to Gliff (2024).

Produktinformation

Utgivningsdatum:2026-01-29
Mått:222 x 25 x 138 mm
Vikt:400 g
Format:Inbunden
Språk:Engelska
Antal sidor:288
Förlag:Penguin Books Ltd
ISBN:9780241665596

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Mer om författaren

Ali Smith was born in Inverness in 1962. She is the author of several novels and short story collections including, The Accidental, Hotel World, How to Be Both and the Seasonal Quartet. She has been four times shortlisted for the Booker Prize, has won the Goldsmiths Prize, Orwell Prize, Costa Best Novel Award and the Women’s Prize. Ali Smith lives in Cambridge.

Recensioner i media

Glyph’s primary power comes from its commitment to excavating the sediments of language; its etymological resonance and inference . . . Smith’s tonal skill as a writer is also used to great effect when dealing with . . . bureaucratic, authoritarian absurdity . . . It is a bold move to be so morally unflinching, especially in the face of a perceived aesthetic orthodoxy that so often privileges distance and irony, but in Glyph we see a major British writer answering the call of the day when so many others have equivocated or turned away. There is also something about Smith’s relentless focus on language that makes her particularly well suited to the task . . . Smith’s sensibility is fine-tuned to grapple with the avalanche of passive-voice headlines, asymmetric categorisations, outright linguistic inversions and semantic absurdities that have accompanied the increasingly desperate attempts to justify the unjustifiable