Jane Feaver

'Stunning . . . it almost feels transgressive' Anthony Cummins, Daily Mail 'One of the most startling novels I've read this year' Frances Wilson, TLS 'This book is brilliant - brave, truthful and intelligent' Wendy Cope 'Funny, philosophical, sobering and wise, Crazy is crammed with insight and laced with great sentences' Claire Kilroy, Guardian 'I will break him; he will break me, and when we are broken, we will be even, and then we can be put back together again' Jane has been accustomed to clever, undemonstrative men. So when, as a young woman, she meets Ardu, she is instantly bewitched by his intellect and detachment. What starts as a crush turns into something far darker, an all-consuming obsession, from which, years later, she is still reeling. Crazy is a work of autofiction, a startling story of obsessive love, addiction, motherhood and work. It is a reckoning with fiction and with truth: how these things play out on the body; what it takes for a woman to write out her own life.

Crazy

As a young woman, Mavis Gaunt leaves post-war London to make a new life for herself in rural Devon, where she spent a few blissful months of her childhood as an evacuee. Living alone in the verdant hamlet of Shipleigh, she believes she's found a heaven on earth - until a violent tragedy brings trouble to paradise, and turns Mavis's idyllic solitude into a tormented, guarded isolation. Decades later, the arrival of a newcomer to the village forces Mavis to make a final reckoning: should she take her horrible secret to the grave? Or, should she summon up her ghosts and, in doing so, lay them to rest? An Inventory of Heaven is a lyrical and intimate meditation on the rural life, falling in love and the long passing of time.

An Inventory of Heaven

Sara Maitland

Simon Ings

Sarah Schofield

Toby Litt

Gregory Norminton

Sean O'Brien

Justina Robson

Jane Rogers

Adam Marek

Dilys Rose

K.J. Orr

Annie Kirby

Simon van Booy

Programmable memories, fatherless reproduction, nano-tech implants, amphibian-powered scar treatment, full body modification, brain-scanning lie-detectors, inter-species reproduction, self-determining synthetic ‘green goo’… Which of these would you wager is pure science fiction, and which currently being developed in the lab? Such is the speed and excitement of today’s bio-medical research – sprinting from the starting gun that was the Human Genome Project – it’s sometimes hard to tell. In a unique collaboration, fourteen short story writers have been invited to explore the increasingly grey area between the fantastical and that which is already within our reach. Closely collaborating with scientists and ethicists working at the forefronts of their respective fields, each writer has been tasked with predicting some of the potential ‘ethical side-effects’ of this ground-breaking work. Not all progress, after all, is progressive. And dark forces are afoot that threaten to hi-jack what many declared would be ‘the century of biology’. 'Fascinating reading.' - Financial Times 'An exhilarating read.' - The Short Review Toby Litt's Bio-Punk story 'Call it ''The Bug'' Because I Have No Time to Think of a Better Title' short-listed for the 2013 Sunday Times EFG Private Bank Short Story Award.

Bio-Punk

There is more going on in the village of Buckleigh than meets the eye and its sense of community is often as much a curse as a blessing. While Barrie, the local mayor, is driven into the arms of tough single mother Debbie, his father lusts after a former chorus girl whose breath now smells of 'cabbage and chocolates'. Meanwhile, a farmer's wife is driven to murder by her unfaithful husband, a carnival queen faces an uncertain future and the postman is in danger of realising his sexual fantasies. Playing on in the background of each of these wry, interlinked tales is the village silver band, swilling cider and keeping a sharp eye out for any misbehaviour.

Love Me Tender

It is 1979 and in a ramshackle cottage in Northumberland fifteen-year-old Ruth is desperate to leave behind the gradual implosion of her parents' marriage as she pursues her own quest for love and excitement. Fantasies about the son of the local farmer offer a temporary distraction from the rising tensions at home but Ruth soon discovers that the family are coming to terms with a very different tragedy... Told largely from the darkly humorous perspective of Ruth, Jane Feaver's novel is an engaging and profound insight into the relationships within families and the nature of love and loss, of grief and grieving.

According to Ruth

'I'm a woman on my own who has no idea what is wrong except that things are coming to a head, unattended things, habitual things, which have the additional weight of time attached, half a century's worth, tick-tock, tick-tock, the clapper jerking its head in readiness to strike: those footmen who'll be turned to mice, the carriage to a pumpkin.' Crazy is an account of the origins and progress of an early, all-consuming relationship and the effect this relationship has had on the teller of the tale, Jane Feaver, who, in middle age, has become a teacher of creative writing. Assailed by physical symptoms she can't explain, she shuttles between her present predicament, where she tussles with what it means to write fiction at all, and the story in hand, an ill-fated tale of obsession compelling in its rawness and emotional candour. With humour and a poetic sturdiness that is by now characteristic of her writing, Jane returns to scenes of childhood whose after-effects can be seen to permeate the emotional landscape of what unfolds - marriage, childbirth and the vagaries of working life. Questions of love, ambition and identity are examined in a novel that is, above all, about story-making itself, about who gets to tell the tale and how, and about the ways in which those stories we absorb and accrue become the ones that make us, and (if anything can) might redeem us, too.

The few years Mavis Gaunt spent in the village of Shipleigh, Devon, as a wartime evacuee - away from London and her parents' loveless marriage - were sufficient for her to conceive of the place as a heavenly retreat. But it is not until her twenties, with nothing left to keep her in the city, that Mavis decides to head back. Frances, Tom and Robert Upcott are reclusive siblings from a local farm.When Mavis returns to the village, she and Frances strike up an unlikely friendship.As they grow closer, Mavis is drawn into the sequestered life of the farm and begins at last to enjoy a sense of belonging. But a tragic sequence of events one winter's day is set to turn her heaven into a living hell. Mavis is seventy when Eve and her young son Archie turn up unexpectedly in the village. The tentative friendship that develops between them prompts Mavis to put together a collection of memories and treasures: her inventory. In revealing the truth of what happened at the Upcott farm, she is able to answer Eve's questions about the past, and in summoning them, finally to lay her own ghosts to rest. Praise for Jane Feaver's work: 'Unflinchingly examines the tensions of intimate family life...will strike deep chords of recognition in the many readers she is sure to win.' Carol Anne Duffy. 'This is a unique voice' - Philip Hensher. 'Pitch perfect....Most memorable is Feaver's language - burnished and sturdily poetic with a saving comic streak' Observer. 'Extraordinary intelligence and charm...also extremely funny'. Independent 'Jane Feaver has proved an expert at creating a sense of place ... tender, imaginative prose' Sunday Herald. `she has a...way of teasing out the comedy of people struggling to deal with..."the long littleness of life"' The Times.

'Perhaps my problem all along is that I've never understood or recognized the difference between story and life...' Crazy is an account of the origins and progress of an early, all-consuming relationship. Jane, the teller of the tale, shuttles between her present predicament, assailed by physical symptoms she can't explain, and the story in hand, an ill-fated tale of obsession compelling in its rawness and emotional candour. With humour and a poetic sturdiness that is by now characteristic of her writing, Jane returns to scenes of childhood whose after-effects can be seen to permeate the emotional landscape of what unfolds - marriage, childbirth and the vagaries of working life. Questions of love, ambition and identity are examined in a novel that is, above all, about story-making itself, about who gets to tell the tale and how, and about the ways in which those stories we absorb and accrue become the ones that make us, and (if anything can) might redeem us, too.

Jane Feaver

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