House of Names

It is Ireland in the early 1950s and for Eilis Lacey, as for so many young Irish girls, opportunities are scarce. So when her sister arranges for her to emigrate to New York, Eilis knows she must go, leaving behind her family and her home for the first time. Arriving in a crowded lodging house in Brooklyn, Eilis can only be reminded of what she has sacrificed. She is far from home - and homesick.

Machines Like Me occurs in an alternative 1980s London. Charlie, drifting through life and dodging full-time employment, is in love with Miranda, a bright student who lives with a terrible secret. When Charlie comes into money, he buys Adam, one of the first batch of synthetic humans. With Miranda’s assistance, he co-designs Adam’s personality. This near-perfect human is beautiful, strong and clever - a love triangle soon forms. These three beings will confront a profound moral dilemma.

Frances is a 21-year-old college student in Dublin; she performs at spoken word events with her best friend and ex-lover, Bobbi. When they are profiled by journalist Melissa, they enter an orbit of beautiful houses and raucous dinner parties. Initially unimpressed, Frances begins an affair with Nick, Melissa's husband, which gives way to an unexpected intimacy.

Kavanagh begins his life patrolling the Wall. If he's lucky, if nothing goes wrong, he only has two years of this, 729 more nights. The best thing that can happen is that he survives and gets off the Wall and never has to spend another day of his life anywhere near it. He longs for this to be over; longs to be somewhere else. He will soon find out what Defenders do and who the Others are. Along with the rest of his squad, he will endure cold and fear day after day, night after night. 

Fusing Keatsian mists and mellow fruitfulness with the vitality, the immediacy and the colour hit of Pop Art - via a bit of skullduggery - Autumn is a witty excavation of the present by the past. Autumn is a take on popular culture and a meditation in a world growing ever more bordered: what constitutes richness and worth?

Neil Gaiman has long been inspired by ancient mythology in creating the fantastical realms of his fiction. Now he turns his attention back to the source, presenting a bravura rendition of the great northern tales. In Norse Mythology, Gaiman fashions primeval stories into a novelistic arc that begins with the genesis of the legendary nine worlds; delves into the exploits of the deities, dwarves, and giants; and culminates in Ragnarok, the twilight of the gods and the rebirth of a new time and people.

This is Nadia. She is fiercely independent, with an excellent sense of humour and a love of smoking alone on her balcony late at night. This is Saeed. He is sweet and shy and kind to strangers. He also has a balcony but he uses his for stargazing. This is their story: a love story, but also a story about how we live now and how we might live tomorrow.

Just moved into a new apartment, alone for the first time in years, Victor Forde goes every evening to Donnelly's pub for a pint, a slow one. One evening his drink is interrupted. A man in shorts and pink shirt brings over his pint and sits down. He seems to know Victor's name and to remember him from school. Says his name is Fitzpatrick. Victor dislikes him on sight, dislikes too the memories that Fitzpatrick stirs up.

Dazzlingly energetic and deeply human, Swing Time is a story about friendship and music and true identity, how they shape us and how we can survive them. Moving from Northwest London to West Africa, it is an exuberant dance to the music of time. Two brown girls dream of being dancers - but only one, Tracey, has talent. The other has ideas: about rhythm and time, about black bodies and black music, what constitutes a tribe or makes a person truly free.

The great city of Troy is under siege as Greek heroes Achilles and Agamemnon wage bloody war over a stolen woman. In the Greek camp, another woman is watching and waiting: Briseis. She was a queen of this land until Achilles sacked her city and murdered her husband and sons. Now she is Achilles' concubine: a prize of battle. Briseis is just one among thousands of women backstage in this war - the slaves and prostitutes, the nurses, the women who lay out the dead - all of them voiceless in history. 

In May 1937, a man in his early 30s waits by the lift of a Leningrad apartment block. He waits all through the night, expecting to be taken away to the Big House. Any celebrity he has known in the previous decade is no use to him now, and few who are taken to the Big House ever return.

Behold the man: Stinking, drunk, brutal and bloodthirsty, Henry Drax is a harpooner on the Volunteer, a Yorkshire whaling ship bound for the hunting waters of the Arctic Circle. Also aboard is Patrick Sumner, an ex-army surgeon with a shattered reputation, no money, and no better option than to embark as ship's medic on this ill-fated voyage.

Historian Anna Bennett has a book to write. She also has an insomniac toddler, a precocious, death-obsessed seven-year-old, and a frequently-absent ecologist husband who has brought them all to Colsay, a desolate island in the Hebrides, so he can count the puffins. Ferociously sleep-deprived, torn between mothering and her desire for the pleasures of work and solitude, Anna becomes haunted by the discovery of a baby's skeleton in the garden of their house.

Tracker is known far and wide for his skills as a hunter: "He has a nose", people say. Engaged to track down a mysterious boy who disappeared three years earlier, Tracker breaks his own rule of always working alone when he finds himself part of a group that comes together to search for the boy. The band is a hodgepodge, full of unusual characters with secrets of their own, including a shape-shifting man-animal known as Leopard. As Tracker follows the boy's scent, he and the band are set upon by creatures intent on destroying them.

Britain's best known classicist, Mary Beard, is also a committed and vocal feminist. In Women & Power she revisits the gender agenda and shows how history has treated powerful women, using examples ranging from the classical world to the modern day. Beard explores the cultural underpinnings of misogyny, considering the public voice of women, our cultural assumptions about women's relationship with power and how powerful women resist being packaged into a male template.