Michael Symmons Roberts’s fourth book of poetry, Corpus, was the winner of the 2004 Whitbread Poetry Award, and was shortlisted for the T. S. Eliot Prize, the Forward Prize, and the Griffin International Prize. His sixth collection, Drysalter, was the winner of both the Forward Prize and the Costa Poetry Prize in 2013. He collaborated with Paul Farley on Edgelands (Cape/Vintage) and will do so again in The Deaths of the Poets (Cape, 2017). He has also worked many times with the composer James MacMillan. He has published two novels, and is Professor of Poetry at Manchester Metropolitan University.

Michael Symmons Roberts

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Raymond Briggs

In his customary pose as the grumpiest of grumpy old men, Raymond Briggs contemplates old age and death… and doesn’t like them much. 
 
Illustrated with Briggs’s inimitable pencil drawings, Time for Lights Out is a collection of short pieces, some funny, some melancholy, some remembering his wife who died young, others about the joy of grandchildren, of walking the dog… He looks back at his schooldays and his time as an evacuee during the war, and remembers his parents and the house in which he grew up. But most, like this one, are about his home in Sussex: 
 
Looking round this house, 
What will they say, 
The future ghosts? 
 
There must have been 
Some barmy old bloke here, 
Long-haired, artsy-fartsy type, 
Did pictures for kiddy books 
Or some such tripe. 
 
You should have seen the stuff 
He stuck up in that attic! 
Snowman this and snowman that, 
Tons and tons of tat.

Time For Lights Out

Astrid Goldsmith

'Brilliant, witty and endlessly inventive' Joe Dunthorne, author of Submarine 
 
A road-trip across Europe and back in time: the debut graphic memoir from the prize-winning author of A Funeral In Freiburg. 
 
When her imperious, chain-smoking German Jewish grandmother dies, it falls to Astrid and her father to drive a hire van to the Black Forest and collect the family heirlooms from Gisela's nicotine-stained apartment. 
 
In Freiburg, they are faced with several lifetimes’ worth of belongings to sort through - infested Persian rugs, mysterious photographs, a toy monkey that started a marriage - and a grasping landlord, impatient to renovate. 
 
As the list of demands from uncles, sisters and cousins grows longer, the rabbit-holes of history and memory grow deeper. Long-buried secrets and tales of survival are revealed - from Nazi Germany to colonial Africa - and old feuds are reignited, as father and daughter struggle with the responsibility of preserving the family legacy. More importantly, will they be able to fit everything into a medium wheel-base transit van? 
 
Funny, bittersweet and beautifully drawn, The Crystal Vase is an odyssey of family arguments, identity crises, and late discoveries.

The Crystal Vase

Alex Halberstadt

'Engrossing' Daniel Beer, Guardian 
 
'A beautiful book... incisive, radiant' Olivia Laing 
 
'Illuminating, dramatic... majestic writing' Spectator 
 
'Enthralling... a triumph' Andrew Solomon 
 
Alex Halberstadt returns to Russia, the troubled, enigmatic land of his birth, where decades of Soviet totalitarianism shaped and fractured three generations of his family, in this haunting work of memoir and history. 
 
In Ukraine, Halberstadt tracks down his paternal grandfather - most likely the last living bodyguard of Joseph Stalin. He revisits Lithuania, his Jewish mother's home, to examine the legacy of the Holocaust and the pernicious anti-Semitism that remains largely unaccounted for. And he returns to his birthplace, Moscow, where his grandmother designed homespun couture for Soviet ministers' wives, his mother consoled dissidents at a psychiatric hospital, and his father made a dangerous living by selling black-market American records. Halberstadt also explores his own story: that of an immigrant growing up in New York, another in a line of sons separated from their fathers by the tides of politics and history. 
 
Young Heroes of the Soviet Union is a moving investigation into the fragile boundary between history and biography. As Halberstadt revisits the sites of his family's formative traumas, he uncovers a multigenerational transmission of fear, suffering, and rage. And he comes to realize something more: Nations, like people, possess formative traumas that penetrate into the most private recesses of their citizens' lives.

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