William Boyd – författare

Britain's most beloved storyteller returns with another twisting adventure of obsessive love and elegant espionage starring reluctant spy and accidental hero, Gabriel Dax. 'Extravagantly enjoyable' THE TIMES'The Predicament is ingenious, thrilling and wonderfully entertaining' JOHN BANVILLE'Boyd’s addictive storytelling is at its very best as he navigates a collision of chance, ambition and human frailty' HER MAJESTY QUEEN CAMILLAGABRIEL DAX, TRAVEL WRITER TURNED ACCIDENTAL SPY, IS BACK IN THE SHADOWS . . . Unable to resist the allure of his MI6 handler, Faith Green, Gabriel has returned to a life of secrets and subterfuge. His latest operation takes him to Guatemala under the guise of covering a tinderbox presidential election, where the ruthless decisions of the Mafia provoke pitch-black warfare in collusion with the CIA.As political turmoil erupts, Gabriel's reluctant involvement deepens. His escape plan leads him to West Berlin, where he uncovers a chilling realisation: there is a plot to assassinate magnetic young President John F. Kennedy. In a race against time, Gabriel must navigate deceit and danger, knowing that the stakes have never been higher . . .‘Engaging, intelligent and deeply satisfying. I rate him one of our greatest living novelists’ PETER JAMES‘I enjoyed it hugely. Boyd is one of my favourite authors – he never disappoints’ KATE ATKINSON‘Simply the best realistic storyteller of his generation’ SEBASTIAN FAULKS‘There are few reading pleasures as great as giving in to a William Boyd novel’ SUNDAY TIMES

At the beginning of 2020, just as global Covid-19 restrictions were coming into force, the artist David Hockney was at his house, studio and garden in Normandy. From there, he witnessed the arrival of spring, and recorded the blossoming of the surrounding landscape on his iPad, a medium he has been using for over a decade. Working outdoors was an antidote to the anxiety of the moment for Hockney – 'We need art, and I do think it can relieve stress,' he says. This uplifting publication – produced to accompany a major exhibition at the Royal Academy of Arts – includes 116 of his new iPad paintings and shows to full effect Hockney's singular skill in capturing the exuberance of nature.

WINNER OF THE JAMES TAIT BLACK MEMORIAL PRIZE 'A brilliant storyteller . . . a book which stretches, tantalizes and delights' Financial Times_____________________________________On Brazzaville Beach, on the edge of Africa, Hope Clearwater ponders the strange circumstances that led her to leave her husband John, and his mathematical obsessions, in England and venture to Africa to help world-renowned scientist Eugene Mallabar with his studies of wild chimps. But the more Hope studies Mallabar, the more she comes to believe that something isn't right. That behind Mallabar, and his obsessive work, there lies another, more sinister truth: one that might also help explain Hope's reasons for leaving England . . ._____________________________________'A most extraordinary parable about mankind. Quite unlike anything else I have read' Sunday Express'Brilliant, daring. A gripping and compulsive story' Herald'Hilarious and edgy' Sunday Times

In his most exhilarating novel yet, William Boyd transports you to the vibrant streets of sixties London, as an accidental spy is drawn into the shadows of espionage and obsession . . .‘William Boyd once again brings to the spy novel his particular storytelling genius . . . brilliant fun’ MICK HERRON‘Wonderfully ambiguous with notions of twisted reality and uncertain memory’ ANN CLEEVES‘A wonderfully intricate novel of espionage and elegant skulduggery’ JOHN BANVILLEAN ACCIDENTAL SPY. A WEB OF BETRAYALS. A MYSTERY THAT WILL TAKE YOU AROUND THE WORLD . . . Gabriel Dax is a young man haunted by the memories of a tragedy: every night, when sleep finally comes, he dreams about his childhood home in flames. His days are spent on the move as an acclaimed travel writer, capturing changing landscapes in the grip of the Cold War. When he’s offered the chance to interview a political figure, his ambition leads him unwittingly into the shadows of espionage.As Gabriel’s reluctant initiation takes hold, he is drawn deeper into duplicity. Falling under the spell of Faith Green, an enigmatic and ruthless MI6 handler, he becomes ‘her spy’, unable to resist her demands. But amid the peril, paranoia and passion consuming Gabriel’s new covert life, it will be the revelations closer to home that change the rest of his story . . .------‘Engaging, intelligent and deeply satisfying. I rate him one of our greatest living novelists’ PETER JAMES‘I enjoyed it hugely. Boyd is one of my favourite authors – he never disappoints’ KATE ATKINSON‘Beautifully crafted and pleasingly unpredictable, the work of a man who knows what he is doing and makes it look effortless’ JAMES RUNCIE‘Simply the best realistic storyteller of his generation’ SEBASTIAN FAULKS‘There are few reading pleasures as great as giving in to a William Boyd novel’ SUNDAY TIMES

DISCOVER THE BOOKER PRIZE LONGLISTED NOVEL ABOUT ONE HEART'S LOVES AND LOSSES FROM ICONIC STORYTELLER WILLIAM BOYD'Superb, wonderful, enjoyable' Guardian'Full of delights' The Times_____________________________Every life is both ordinary and extraordinary, and Logan Mountstuart's - stretching across the twentieth century - is a rich tapestry of both. As a writer who finds inspiration with Hemingway in Paris and Virginia Woolf in London, as a spy recruited by Ian Fleming and betrayed in the war, and as an art-dealer in '60s New York, Logan mixes with the men and women who shape his times. But as a son, friend, lover and husband, he makes the same mistakes we all do in our search for happiness. Here, then, is the story of a life lived to the full - and a journey deep into a very human heart.'One of the things this book does so brilliantly, is it so authentically recreates historical characters' Ben Miller, on BBC 2's Between The Covers____________________________'Astonishing, touching, extremely funny. A brilliant evocation of a past era and an immensely readable story' Sunday Telegraph'Superb, wonderful, enjoyable' Guardian'Generous, witty, sneakily profound' Evening StandardAny Human Heart was adapted for a Channel 4 drama starring Kim Cattrall, Gillian Anderson, Matthew Macfadyen and Jim Broadbent and is perfect for readers of Sebastian Faulks and Hilary Mantel.

THE SUNDAY TIMES BESTSELLERVienna, 1913. Lysander Rief, a young English actor, sits in the waiting room of the city's preeminent psychiatrist as he anxiously ponders the particularly intimate nature of his neurosis. When the enigmatic, intensely beautiful Hettie Bull walks in, Lysander is immediately drawn to her, unaware of how destructive the consequences of their subsequent affair will be. One year later, home in London, Lysander finds himself entangled in the dangerous web of wartime intelligence - a world of sex, scandal and spies that is slowly, steadily, permeating every corner of his life...

Any Human Heart is William's Boyd's classic, bestselling novel, now available as a Penguin Essential for the first time. Every life is both ordinary and extraordinary, but Logan Mountstuart's - lived from the beginning to the end of the twentieth century - contains more than its fair share of both. As a writer who finds inspiration with Hemingway in Paris and Virginia Woolf in London, as a spy recruited by Ian Fleming and betrayed in the war and as an art-dealer in '60s New York, Logan mixes with the movers and shakers of his times. But as a son, friend, lover and husband, he makes the same mistakes we all do in our search for happiness. Here, then, is the story of a life lived to the full - and a journey deep into a very human heart.Any Human Heart will be enjoyed by readers of Sebastian Faulks, Nick Hornby and Hilary Mantel, as well as lovers of the finest British and historical fiction around the world. It was recently adapted for a major Channel 4 four-part drama series scripted by William Boyd and starring Kim Cattrall, Gillian Anderson, Jim Broadbent and Tom Hollander. This edition features beautiful cover artwork from the television series.'Astonishing, touching, extremely funny. A brilliant evocation of a past era and an immensely readable story' Sunday Telegraph'Superb, wonderful, enjoyable' Guardian'A terrific journey through the twentieth century. Thoroughly entertaining and enjoyable' Jeremy Paxman

*The Sunday Times Bestseller*It is 1969 and James Bond is about to go solo, recklessly motivated by revenge.A seasoned veteran of the service, 007 is sent to single-handedly stop a civil war in the small West African nation of Zanzarim. Aided by a beautiful accomplice and hindered by the local militia, he undergoes a scarring experience which compels him to ignore M’s orders in pursuit of his own brand of justice. Bond’s renegade action leads him to Washington, D.C., where he discovers a web of intrigue and witnesses fresh horrors.Even if Bond succeeds in exacting his revenge, a man with two faces will come to stalk his every waking moment.

Dirty Realism is the fiction of a new generation of American authors. They write about the belly-side of contemporary life - a deserted husband, an unwed mother, a car thief, a pickpocket, a drug addict - but they write about it with a disturbing detachment, at times verging on comedy. Understated, ironic, sometimes savage, but insistently compassionate, these stories constitute a new voice in fiction. In this special feature, Granta presents a group of younger authors - many published in Britain for the first time - who, writing in a strange, exaggerated style, have single-handedly revitalized the short story. 'These writers,' Tobias Wolff has observed, 'while not necessarily a school, nevertheless form a new voice. They are able to speak to us about the things that matter.'

Boris is a novella that works on several levels: a love-story, a tragedy, a depiction of pain and self-destruction. It is a moving and strangely understated chronicle of an obsession, but it is an obsession with political and historical implications that extend far beyond its seemingly straight-forward, spartan narrative.John Berger won the Booker Price for his novel G. He is also the author of the much acclaimed Ways of Seeing and Pig Earth. Boris is his first published fiction in over four years, and its eloquent sadness clearly reaffirms Susan Sontag's claim: 'John Berger writes about what is important, not just interesting. In contemporary English letters he seems to me peerless; not since Lawrence has there been a writer who offers such attentiveness to the sensual world.'

Travel writing is undergoing a revival: not since the 1920s and '30s has it been so popular or so important. What accounts for its sudden appeal? A need for escape? Nostalgia for an experience that means not tourism but adventure? Or does travel writing - being part reportage, part fiction, and part meditation - express concerns that we rarely see addressed in other forms of writing? This issue, the tenth edition of Granta, is devoted to the work of some of today's most important travel writers, including the already established and those just beginning to build their reputations.

What is Milan Kundera's writing about? Sexual conquest and Russian tanks, arousal and totalitarian repression, infidelity and political betrayal, desire and the quiet tragedy of Europe. Kundera is a literary acrobat, a master of paradox and parody. An exile from communism and a critic of the West, a sceptic and irrepressible story-teller, an erotic hedonist whose life is politicized in the extreme, Kundera is as surprising and as unpredictable as the contemporary world he addresses.The current issue of Granta publishes, for the first time in Britain, a collection of Kundera's newest work, representing the range and power of an author whom more and more people have come to recognize as one of the most important writers to have emerged in the last ten years.

Ten years ago, James Fenton went to Saigon, having made up his mind that, no matter what happened, he was not going to miss what he had travelled 10,000 miles to see: a Communist victory. And so he remained, long after the US troops and most members of the western press had been evacuated. He remained for, and even participated in, the looting of the US Embassy. And when the first North Vietnamese tank entered the city, lost, unable to make its way through Saigon's maze of streets, James Fenton jumped on the back, an unlikely navigator, directing the tank commander to the Presidential Palace. And still Fenton remained, until three months later, without food or money or clothes, wandering around a city transformed, he finally made his way back home.Witty, bizarre, and verging on the lunatic - who in his right mind would hop on the back of an invading army's tank? - James Fenton's account of the fall of Saigon is an extraordinary and historically important record of the collapse of a city at war.

For the last thirty or forty years, it has been a commonplace that science and literature don't mix. But recently science writing has undergone a revival and has come to constitute a literature in itself. What accounts for its sudden appeal? That attraction of facts? Or the possibility that 'facts' are themselves inventions of the most spectacular kind?Granta 16, 'Science' is devoted to representing part of this revival. In 'Excesses', Oliver Sacks describes individuals suffering from not only too much personality but too many. In 'Amazon', Eugene Richards and Dorothea Lynch document the terrible mystery of illness and the body. The sexuality of tortoises, the lunacy of invention, the bizarre mating habits of a tropical rodent, the zoo-like existence of the young scientists of Reagan's Star Wars - all invite us to understand 'science' not simply as the study of fact but also as another way, not unlike the novel, of describing the mystery of the world.

James Fenton is a rather peculiar individual.He was, after all, among the first to loot the US Embassy as the city of Saigon fell. This year, he found himself in the Presidential Palace in Manila, and his booty included one towel (with the monogram of Imelda Marcos) and a letter to President Macros - resting alongside the grand piano, on which James Fenton managed to play a version of Bach's Prelude in C (abruptly abbreviated), while the population of Manila rioted.But James Fenton's version of the Philippines is more than a record of being at the right place at the worst of possible times. It is also an account of one of the most historic uprisings in recent years - in which an entire people, cheated of its vote in a snap election, responded in turn: with a snap revolution.

What does 'story-teller' suggest? Folk-tales, myths, sea voyages, a cartoon campfire: in short, a way of writing that is distinctly unmodern. Granta 21 presents the work of three authors who are, in their way, distinctly and deliberately unmodern.Bruce Chatwin follows nomads through the Sahara and the Aborigines across Australia, as they sing an entire continent into existence.Ryszard Kapuscinski returns from central Africa with stories - 'felt on the surface of my skin' - to tell people desperate to discover the outside world.And in 'A Story for Aesop', John Berger defines the story-teller: a witness who has become historian, a contemporary who is not modern - detached, sceptical and intensely compassionate.

Martin Amis, Kazuo Ishiguro, Salman Rushdie, Ian McEwan and Julian Barnes were relatively unknown names in literature when Granta published its first Best of Young British Novelists list in 1983. They did not remain unknown for long. These writers -- along with Pat Barker, Rose Tremain, A.N. Wilson and Adam Mars-Jones -- became the most celebrated voices of their generation. In this anthology, now newly reissued in paperback, allows readers to experience the emerging voices of today's most established writers.

Is it the end of the English novel? Has it grown predictable and unadventurous? Granta 3 collects work from writers and critics which points to the fact that our terms have grown inadequate: it is also the end of the English novel; but it is also the beginning - quite possibly an extremely important beginning - of British fiction.

For long hours Shebani sat up there with open eyes listening to the weeping. It was more whimpering, really, someone weeping from fear of too much silence. During those hours there, paralysed, not moving in his blanket, Shebani grew old. Ever after, we say, he carried Makokha's weeping in his body. From The Modern Common Wind. The issue is the habitability of the earth, and it is in this context, not in the context of the direct slaughter of millions of people by the local effects of nuclear weapons, that the question of human survival arises. from The Fate of the Earth. At an age where most young Scotsmen were lifting skirts, plowing furrows, and spreading seed, Mungo Park was displaying his bare buttocks to al-haff Ali Ibn Fatoudi, Emir of Ludamar. From Mungo Among the Moors. Because Hanley's skin has been stripped off by the enemy, he could find no one who was willing to be with him for long. from Anatomy of Desire. Tottenham Court Road! Street of sin, street of shame! I go there by underground, rumbling beneath the surface, howling through black tunnels. I emerge into the light of those windows of desire gleaming in the winter dusk. There is so much I need. so much I want, and all of it is here in my street of love and lust. From Mnemosyne, Teen Taals, and Tottenham Court Road.