Adam Thorpe - Böcker

It is the freakishly hot, drought summer of 1921; dust storms in London, parched and cracking earth, autumn tints in July. Holed up in a cottage in the Chilterns, a young writer strives to write the first great novel of the War, impelled by his own suffering. Outward events and inner crises deflect him from his purpose, and love intervenes in the form of two very different women. A visit to the hallucinatory wreckage of post-war Flanders brings strange repercussions in its wake. Everyone is in some way damaged by the terrible years of the war; in what sense can art be made out of such horror? Adam Thorpe's novel seeks to touch the marrow of this jazz and death-haunted period, which was ironically the most excitingly creative period of the last century. In a language deeply soaked in the time and by means of a beguiling story which gradually haunts its own process, Nineteen Twenty-One vividly recreates the year in which The Waste Land was written, as well as offering a bright mirror to the inner and outer complexities of our own troubled times.

Set in 1968 in the Parisian suburbs, No Telling is narrated by twelve-year-old Gilles as he approaches his Solemn Communion, puberty, and some sense of the chaos around him. His home is deeply dysfunctional: a dithering mother, a hard-drinking, womanising uncle who becomes his stepfather, and an older sister, Carole - an unbalanced revolutionary who hasn't danced her ballet steps since the death of their real father. Gilles is blithely unaware that any of this is out of the ordinary, as he and his friend Christophe try and piece together a world from fragments of rumour and hushed adult conversation. There is a deeper trauma here, however, far more shocking than anything Gilles could have dreamt of - a mystery it will take the events of the novel and eight years to resolve.

Celebrated as a novelist of breathtaking historical range and depth, Adam Thorpe is also an accomplished and celebrated writer of short fiction, and the stories collected here show his deftness with character, his enormous versatility of voice.In the title story, an expectant first-time novelist meets the publisher who has asked him to lunch, only to find himself drawn, unwittingly and inexorably, into a terrible personal tragedy. In 'The Concert Interval' Rob, an orchestral tympanist, sees his life crumble over the half-time coffee and sandwiches. In 'Heavy Shopping' a business executive is called in the middle of an important conference in Scotland with the news that his wife has given birth prematurely; his inability to cope with the resulting divided loyalties, and the way he deals with his own passive indecisiveness, reveals the terrifying emotional vacuum in his life.Exquisitely written, these stories breathe life into their characters, exposing their deepest desires, their catastrophic fears, their perilous frailty in the face of the responsibilities they carry; they are the work of one of Britain's most important writers, working at the height of his powers.

Immerse yourself in the stories of Ulverton, as heard on BBC Radio 4 Book at Bedtime'Sometimes you forget that it is a novel, and believe for a moment that you are really hearing the voice of the dead' Hilary MantelAt the heart of this novel lies the fictional village of Ulverton. It is the fixed point in a book that spans three hundred years. Different voices tell the story of Ulverton: one of Cromwell's soldiers staggers home to find his wife remarried and promptly disappears, an eighteenth century farmer carries on an affair with a maid under his wife's nose, a mother writes letters to her imprisoned son, a 1980s real estate company discover a soldier's skeleton, dated to the time of Cromwell...Told through diaries, sermons, letters, drunken pub conversations and film scripts, this is a masterful novel that reconstructs the unrecorded history of England. WITH AN INTRODUCTION FROM ROBERT MACFARLANE

'An intricately crafted novel, sharp-eared, current and full of heart' Guardian, Books of the YearA spirited fourteen-year-old, Fay, goes missing from a Lincoln council estate. Is she a runaway, or a victim – another face on a poster gradually fading with time? The story of her last few days before she vanishes is interwoven with the varied lives of six locals – all touched in life-changing ways. David is on a family holiday on the bleak Lincolnshire coast; Howard, a retired steel worker with some dodgy friends; Cosmina, a Romanian immigrant; Sheena, middle-aged and single, running a kiddies’ clothes shop; Mike, owner of a second-hand bookshop and secretly in love with Cosmina; and Chris, a TV-producer-become-monk struggling to leave the ordinary world behind. All are involuntary witnesses to the lost girl; paths cross, threads touch, connections are made or lost. Is Fay alive or dead? Or somewhere in between?

Adam Thorpe's fourth collection continues his engagement with history: the living continuum that connects us with our near and distant past, nourishing and illuminating our present. Here are traces left of presence: Indian scratchings on rock, the nail-marks of destroyed frescoes, spoken fragments of war memories - petroglyphs that function as both memorials and re-awakenings, traceable with the finger of the imagination. And here, too, are images of the stilled, the stopped life: a snowed-up village, the paralysed victim of motor-neurone disease, a soft drink fermented in an old village cafe. From this rueful equilibrium of mid-life, Thorpe circles his own personal history, allowing regret and anticipation their Janus-like say. These are erudite, generous poems, formally versatile yet rich in startlingly original observation and a natural lyric grace. Performing his unique archaeology on lives lived, Adam Thorpe once again displays the range of his imagination and the depth of his humanity.

Adam Thorpe's fifth collection finds purpose in the discarded, the secretive, the failed. Juxtaposing creation and destruction, hope and grief - a small boy deep down a lead mine; an unlit, nocturnal path set against the 'insomniac' motorway; industrialised apples against wrinkled windfalls - his poems argue for bewilderment and 'the slight bruise of doubt'. Whether walking an abandoned road or considering a friend's suicide, his poems remind us of our abdications, of our collapsed relationships with nature, with history, with ourselves.There are, however, all the vestiges of connective tissue - memories and mementoes, sudden, miraculous leaps of beauty. The book is full of such traces, delicate and fugitive: the poet's grandmother retrieved through her ninety-year-old bookmark of rose petals; the unvoiced suggestion of his mother's voice on an answerphone; the memory of a vanished native chief in a Canadian mountain's shadow...

From an abandoned rowing boat in Estonia full of wild flowers to a swimming pool in the Congo full of drowned insects, Adam Thorpe's new collection takes us on a wide-ranging journey through states of gain and loss, alienation and belonging. In the title poem, the poet disturbs a flock of geese by his mere presence, and one goose takes the wrong direction, away from the flock, as a 'voluntary exile'. A bid for freedom, or a mistake? These poems explore our chances, record our traces - in the marks on skin, home movies, stone walls, the pressure of our blood, or the clearing of a dying father's study: 'foraging backwards' until something is revealed, however tentative. As always in Thorpe's work, history's violence lurks in the margins: in the silent oppression of Roman roads, a polluting pipeline in Africa or the bombing of the Alcala train, he takes the gauge of our wider compulsions, of all that decides things for us. Against this he sets what, through the other meaning of 'voluntary', suggests chance's extempore music: the gleeful play of a sea-otter, the extraordinary gift of a passing gull to his small daughter, or poetry itself. Adam Thorpe is now celebrated as a novelist, but he began as a poet. Voluntary, his sixth collection, is a timely reminder of the elegance, skill and remarkable range of this most gifted British poet.

Adam Thorpe’s home for the past 25 years has been an old house in the Cévennes, a wild range of mountains in southern France. Prior to this, in an ancient millhouse in the oxbow of a Cévenol river, he wrote the novel that would become the Booker Prize-nominated Ulverton, now a Vintage Classic. In more recent writing Thorpe has explored the Cévennes, drawing on the legends, history and above all the people of this part of France for his inspiration. In his charming journal, Notes from the Cévennes, Thorpe takes up these themes, writing about his surroundings, the village and his house at the heart of it, as well as the contrasts of city life in nearby Nîmes.In particular he is interested in how the past leaves impressions – marks – on our landscape and on us. What do we find in the grass, earth and stone beneath our feet and in the objects around us? How do they tie us to our forebears? What traces have been left behind and what marks do we leave now? He finds a fossil imprinted in the single worked stone of his house’s front doorstep, explores the attic once used as a silk factory and contemplates the stamp of a chance paw in a fragment of Roman roof-tile. Elsewhere, he ponders mutilated fleur-de-lys (French royalist symbols) in his study door and unwittingly uses the tomb-rail of two sisters buried in the garden as a gazebo. Then there are the personal fragments that make up a life and a family history: memories dredged up by ‘dusty toys, dried-up poster paints, a painted clay lump in the bottom of a box.’ Part celebration of both rustic and urban France, part memoir, Thorpe’s humorous and precise prose shows a wonderful stylist at work, recalling classics such as Robert Louis Stevenson’s Travels with a Donkey in the Cévennes.

From the legends of King Arthur embedded in the rocky splendour of Tintagel to the folklore and mysticism of Stonehenge, English Heritage sites are often closely linked to native English myths. Following on from the bestselling ghost story anthology Eight Ghosts, this new collection of stories inspired by the legends and tales that swirl through the history of eight ancient historical sites.Including an essay by James Kidd on the importance of myth to our landscape and our fiction, and an English Heritage survey of sites and associated legends, These Our Monsters is an evocative collection that brings new voices and fresh creative alchemy to our story-telling heritage.Author and atmospheric locations include:Edward Carey - Bury St Edmunds AbbeySarah Hall - Castlerigg and other stone circlesPaul Kingsnorth - StonehengeAlison MacLeod - Down HouseGraeme Macrae Burnet - Whitby AbbeySarah Moss - Berwick CastleFiona Mozley - Carlisle CastleAdam Thorpe - Tintagel CastleWith original black-and-white illustrations by Clive Hicks-Jenkins

From the legends of King Arthur embedded in the rocky splendour of Tintagel to the folklore and mysticism of Stonehenge, English Heritage sites are often closely linked to native English myths. Following on from the bestselling ghost story anthology Eight Ghosts, this new collection of stories inspired by the legends and tales that swirl through the history of eight ancient historical sites.Including an essay by James Kidd on the importance of myth to our landscape and our fiction, and an English Heritage survey of sites and associated legends, These Our Monsters is an evocative collection that brings new voices and fresh creative alchemy to our story-telling heritage.Author and atmospheric locations include:Edward Carey - Bury St Edmunds AbbeySarah Hall - Castlerigg and other stone circlesPaul Kingsnorth - StonehengeAlison MacLeod - Down HouseGraeme Macrae Burnet - Whitby AbbeySarah Moss - Berwick CastleFiona Mozley - Carlisle CastleAdam Thorpe - Tintagel CastleWith original black-and-white illustrations by Clive Hicks-Jenkins