The Cut Up by Louise Welsh; The Persian by David McCloskey; The 10:12 by Anna Maloney; Very Slowly All at Once by Lauren Schott; Vivian Dies Again by CE Hulse
The Cut Up by Louise Welsh (Canongate, £20)
This welcome third outing for gay Glaswegian auctioneer Rilke opens with his discovery of a body. Obnoxious jewellery dealer Rodney Manderson has been killed outside the Bowery auction rooms, stabbed through the eye with the Victorian hatpin that his boss, Rose Bowery, has brandished in front of the nation on Bargain Hunt. As she discussed the pin’s virtues as a deadly weapon as well as its millinerial uses, the fiercely loyal Rilke decides – while feeling grateful to have skipped lunch and trying not to think of jelly – to remove it before calling the police. They soon decide they’ve got their man, but Rilke’s not so sure; the roots of the crime may lie in the past – in particular, a notorious reform school. With a central character who feels like an old friend, The Cut Up is as sharply observed, humane and beautifully written as its two superb predecessors.
The Persian by David McCloskey (Swift, £20)
Former CIA analyst McCloskey’s fourth novel centres on Jewish Iranian dentist Kam Esfahani. Dissatisfied with life in Sweden, where his family relocated when driven out of Iran, and wanting the wherewithal to move to California, he accepts an offer from the chief of Mossad’s Caesarea Division. Returning to Tehran, he runs a fake dental practice as cover for assisting in “sowing chaos and mayhem in Iran”. Things go awry when he enlists double agent Roya Shabani, widow of an Iranian scientist killed by the Israelis. The book takes the form of a series of confessions that Kam, now caught and imprisoned, is forced to write by his torturer, and these documents – which may or may not reveal the whole truth – are interspersed with flashbacks. Kam’s cynical tone and mordant humour serve to underline not only the horror, but also the inherent hypocrisy of the endless cycle of violence and retribution: this masterly novel is tragically topical and utterly gripping.
© Photograph: Phil Sharp
© Photograph: Phil Sharp
© Photograph: Phil Sharp
From classmates to co-parents, the changing dynamics of a female friendship are astutely observed in a novel that explores the boundaries between love, lust and companionship
Australian author Madeleine Gray’s award-winning debut novel Green Dot was a smart, funny tale of a doomed office affair. Her new novel, Chosen Family, is a smart, funny tale of a complicated, life-changing relationship between two women.
Nell and Eve meet aged 12 at a girls’ school in Sydney. Gray’s narrative moves smoothly back and forth from the 00s to the present day; as in David Nicholls’s One Day, we learn about our protagonists by meeting them at different moments in their lives, from the pressures of high school to the alcohol-soaked freedoms of university to the frustrations and joys of early parenthood.
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© Photograph: Dmytro Betsenko/Getty Images
© Photograph: Dmytro Betsenko/Getty Images
© Photograph: Dmytro Betsenko/Getty Images
Longtemps considérés comme des maquettes de communication inspirées de la science-fiction, les avions du projet militaire chinois Nantianmen ont été remis en avant le 9 janvier 2026 par la CCTV, qui les a présentés comme potentiellement réalisables.
Over the past decade Josef Fares has made a name for himself in the video games industry not only due to his unique personality, but thanks to the creator’s constant push towards innovating in the co-op space, with each successive project receiving higher praise than the last. While Fares and Hazelight Studios’ latest release Split Fiction continues to find a growing audience, the team’s previous project – It Takes Two – is nearing another massive sales milestone.
In an interview conducted by Christopher Dring of TheGameBusiness, Hazelight Studios CEO Josef Fares spoke on a wide range of topics including 2025’s GOTY winner Clair Obscur: Expedition 33; the state of the industry, generative AI and more.
In discussing Hazelight’s last game prior to Split Fiction – It Takes Two – Fares revealed that the 2021 game of the year winner is continuing to sell millions of copies, confirming that the co-op title is now closing in on hitting 27 million copies sold.
While an incredible achievement in its own right, as with many of Hazelight’s games, It Takes Two included a friends pass allowing you to play through the whole game online with a friend without them needing to own a copy. This means that at this point over 50 million people have experienced the game.
Considering the fact that the game is set to receive an adaptation of some kind at some point (though we have heard little from the project since its initial announcement), It Takes Two will likely continue to sell well for many more years.
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The post It Takes Two closes in on 27 million copies sold first appeared on KitGuru.The Lincoln in the Bardo author is back with another metaphysical tale. He discusses Buddhism, partisan politics and the terrifying flight that changed his life
Like his first novel, Lincoln in the Bardo, which won the Booker prize in 2017, George Saunders’s new novel is a ghost story. In Vigil, an oil tycoon who spent a lifetime covering up the scientific evidence for climate change is visited on his deathbed by a host of spirits, who force him to grapple with his legacy. What draws Saunders to ghost stories? “If I had us talking here in a story and I allowed a ghost in from the 1940s, I might be more interested in it. It might be because they are in fact here,” he says, gesturing to the hotel lobby around us. “Or even if it’s not ghosts, we both have memories of people we love who have passed. They are here, in a neurologically very active way.” A ghost story can feel more “truthful”, he adds: “If you were really trying to tell the truth about this moment, would you so confidently narrow it to just today?”
Ghosts also invite us to confront our mortality and, in so doing, force a new perspective on life: what remains once you strip away the meaningless, day-to-day distractions in which we tend to lose ourselves? “Death, to me, has always been a hot topic,” Saunders says. “It’s so unbelievable that it will happen to us, too. And I suppose as you get older it becomes more …” he puts on a goofy voice: “interesting”. He is 67, grizzled and avuncular, surprisingly softly spoken for a writer who talks so loudly – and with such freewheeling, wisecracking energy – on the page. He says death is close to becoming a “preoccupation” for him and he worries that he is not prepared for it.
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© Photograph: Benedict Evans/The Guardian
© Photograph: Benedict Evans/The Guardian
© Photograph: Benedict Evans/The Guardian
After Guardian writers shared their choices, readers responded with picks from films including Withnail and I, Emily the Criminal and Chopper
The fact that he manages to save a kid’s life while remaining a sweary alcoholic without an ounce of dignity and self-respect … is positively heartwarming. GusCairns
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© Photograph: Murray Close/Getty Images
© Photograph: Murray Close/Getty Images
© Photograph: Murray Close/Getty Images
Barrister turned novelist Harriet Tyce is playing a blinder in the fourth series of the show. As a thriller writer myself, I recognise the traits that make her such a formidable Faithful
This time last year a rumour swept through the close-knit British crime-writing community, not whispered in a quiet moment in the billiard room but shared on group chats and message boards. The producers of The Traitors were recruiting contestants for 2026, and wanted one of us to take part. Of course they did! The Traitors is a controlled, lower-stakes, stylised version of the golden age country house whodunnit, which is itself a controlled, lower-stakes, stylised version of real-life murder. It is crime writers’ job to examine the dark side of human behaviour. Betrayal of trust and manipulation are all in a day’s work. We often write from multiple perspectives, identifying with victim, perp and detective, giving us a unique kind of empathy. We spent the rest of the year wondering who it would be. (I didn’t get the call.)
Last November, in that howling no man’s land between the finale of Celebrity Traitors and the transmission of series four, I went along with 13 fellow crime novelists to the Traitors Live Experience in Covent Garden. Despite being professional pattern-finders with highly tuned powers of observation, none of us at the replica round table guessed that the Chosen One was among us, and had already completed her stint on the real thing.
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© Photograph: Cody Burridge/BBC/PA
© Photograph: Cody Burridge/BBC/PA
© Photograph: Cody Burridge/BBC/PA
Family trauma shapes a student’s affair with her teacher in this bleak and funny fiction debut from the American memoirist
When it was published in 2022, Jennette McCurdy’s memoir lit a touchpaper to a nascent cultural conversation. I’m Glad My Mom Died introduced her mother Debra’s narcissistic personality disorder into a world eager to discuss adult child and parent estrangement. McCurdy had also suffered sexual abuse, and claimed her mother had contributed to her developing an eating disorder. The memoir was a bestseller, walking readers through the realities of generational trauma; a step change for the former Disney child star who had been “the funny one” on obnoxious Nickelodeon kids’ shows.
In her debut work of fiction, Half His Age, McCurdy continues to shake open a Pandora’s box, shedding light on blurred parent-child boundaries and loss of identity due to over-enmeshment, with solid one-liners that feel straight out of a sitcom writers’ room.
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© Photograph: The Washington Post/Getty Images
© Photograph: The Washington Post/Getty Images
© Photograph: The Washington Post/Getty Images
With its cast of thinkers, gamers and artists, this romp across Europe explores our desire to define reality – even as it slips from our intellectual grasp
Joanna Kavenna’s two decades as a writer have seen her beat a gorgeously unconventional path through a plethora of subjects and genres, from polar exploration to motherhood to economic inequality, and from travelogue to academic satire to technological dystopia. “I like genre,” Kavenna said in a 2020 interview, “because there’s a narrative and you can kind of work against it, test it.” That being said, her seventh published book, Seven, is a curiously uncategorisable, protean thing: a slim, absurdist novel, but chunky with ideas.
Of all the genres Kavenna has worked within – or, more accurately, vexed the boundaries of – Seven (Or, How to Play a Game Without Rules) is probably closest to an academic satire. We first encounter the novel’s thoroughly anonymised first-person narrator in Oslo in the summer of 2007, where he or she or they are employed as a research assistant to a renowned Icelandic philosopher named Alda Jónsdóttir. Jónsdóttir is described as “eminent, tall, strong and terrifying”, and likes to host dinner parties for her histrionic institutional peers. The hapless narrator’s job is to help facilitate her work in “box philosophy”: “the study of categories, the ways we organise reality into groups and sets […] the ways we end up thinking inside the box, even when we are trying to think outside the box”.
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© Photograph: Linda Nylind/The Guardian
© Photograph: Linda Nylind/The Guardian
© Photograph: Linda Nylind/The Guardian
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