Ajay Chowdhury, the inaugural winner of the Harvill Secker-Bloody Scotland prize, is a tech entrepreneur and theatre director. His children’s book – Ayesha and the Firefish, was published in 2016 and adapted into a musical which premiered in San Francisco. 
 
 
The Waiter (Sunday Times Crime Book of the Month), was published in 2021, and is the first in his critically-acclaimed crime series about Detective Kamil Rahman, an ex-policeman from Kolkata who has moved to Brick Lane in London. It is being adapted for television by Moonage Pictures.The Cook (Guardian Top Crime Books of the Year) was published in May 2022 to excellent reviews and deals with the issue of homelessness. The third book in the series – The Detective (Sunday Times Top Crime Books of the Year) – is about government surveillance and AI. The Spy (Longlisted Wilbur Smith Adventure Writing), the fourth book, sees Kamil infiltrate a terrorist cell. The Shadow (A Sunday Times Crime Book of the Month) is the latest book in the series.

Ajay Chowdhury

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Arundhati Roy

Arundhati Roy’s first work of memoir, this is a soaring account, both intimate and inspiring, of how the author became the person and the writer she is, shaped by circumstance, but above all by her relationship to her extraordinary, singular mother Mary, who she describes as ‘my shelter and my storm’. 
 
Distraught and even a “little ashamed” at the intensity of her response to the death of the mother she ran from at age eighteen, Arundhati began to write Mother Mary Comes to Me. The result is this astonishing, disconcerting, surprisingly funny chronicle—unique and simultaneously universal, of the author’s life, from childhood to the present, from Kerala to Delhi. 
 
With the scale, sweep, and depth of her novels and the passion, political clarity, and warmth of her essays, Mother Mary Comes to Me is an ode to freedom, a tribute to thorny love and savage grace—a memoir like no other.

Mother Mary Comes To Me

Kenan Orhan

Dilara is having her bathroom renovated. Her father's memory has started collapsing, dementia stealing a little more of him each day; her apartment must be adapted so he can move in with her. But when the builders finally unveil their handiwork, there is a problem: instead of a new bathroom, they have built a prison cell. Not just any cell - one that Dilara recognises. It is a room from Silivri Prison in Istanbul. 
 
At first she is outraged, exasperated, determined to reverse the bizarre mistake. Dilara's family are political exiles: they fled Turkey years ago and have never been back. The last thing she wants is a piece of her abandoned homeland appearing uninvited in her new home. But gradually her indignation gives way to curiosity. Even as she struggles to care for her dying father, to stretch their dwindling savings and stop the wheels coming off her marriage, she is drawn back again and again to the mysterious prison cell, which seems to connect, impossibly, to a city that once belonged to her - to the salt wind off the Marmara, the sky full of gulls and domes and minarets - a portal back to Istanbul.

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