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  • Kate Morton

    The Forgotten Garden
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  • Rose Tremain

    The Road Home
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  • Linwood Barclay

    No Time For Goodbye
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  • Khaled Hosseini

    The Kite Runner
    The Kite Runner of Khaled Hosseini's deeply moving fiction debut is an illiterate Afghan boy with an uncanny instinct for predicting exactly where a downed kite will land. Growing up in the city of Kabul in the early 1970s, Hassan was narrator Amir's closest friend even though the loyal 11-year-old with "a face like a Chinese doll" was the son of Amir's father's servant and a member of Afghanistan's despised Hazara minority. But in 1975, on the day of Kabul's annual kite-fighting tournament, something unspeakable happened between the two boys.

    Narrated by Amir, a 40-year-old novelist living in California, The Kite Runner tells the gripping story of a boyhood friendship destroyed by jealousy, fear, and the kind of ruthless evil that transcends mere politics. Running parallel to this personal narrative of loss and redemption is the story of modern Afghanistan and of Amir's equally guilt-ridden relationship with the war-torn city of his birth. The first Afghan novel to be written in English, The Kite Runner begins in the final days of King Zahir Shah's 40-year reign and traces the country's fall from a secluded oasis to a tank-strewn battlefield controlled by the Russians and then the trigger-happy Taliban. When Amir returns to Kabul to rescue Hassan's orphaned child, the personal and the political get tangled together in a plot that is as suspenseful as it is taut with feeling.

    The son of an Afghan diplomat whose family received political asylum in the United States in 1980, Hosseini combines the unflinching realism of a war correspondent with the satisfying emotional pull of master storytellers such as Rohinton Mistry. Like the kite that is its central image, the story line of this mesmerizing first novel occasionally dips and seems almost to dive to the ground. But Hosseini ultimately keeps everything airborne until his heartrending conclusion in an American picnic park. --Lisa Alward, Amazon.ca

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  • Julia Gregson

    East of the Sun
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  • Sadie Jones

    The Outcast
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  • Haruki Murakami

    What I Talk About When I Talk About Running
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  • Markus Zusak

    The Book Thief
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  • Khaled Hosseini

    A Thousand Splendid Suns
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  • Alan Moore

    Batman: The Killing Joke (Deluxe Edition)
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  • Kate Atkinson

    When Will There Be Good News?
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  • Kate Morton

    The House at Riverton
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  • Robert Harris

    The Ghost
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  • J.J. Salem

    Tan Lines: A Novel of Sex and Sunburn
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  • Alexander McCall Smith

    The Unbearable Lightness of Scones: A New 44 Scotland Street Novel (44 Scotland Street 5): A New 44 Scotland Street Novel (44 Scotland Street 5)
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  • Winifred Watson

    Miss Pettigrew Lives for a Day (Persephone Classics)
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  • Sebastian Faulks

    Devil May Care (James Bond)
    A variety of authors have written 007 novels since the death of Bond's creator, Ian Fleming -- and the results have been mixed, to say the least. As 'Robert Markham', Kingsley Amis penned the very first post-Fleming Bond, and this attempt by a novelist better known for his 'literary' work was judged a success. Now, after a decade of less successful entries by such writers as John Gardener, we have another serious writer, Sebastian Faulks (author of such acclaimed novels as Birdsong), taking up the challenge.

    Devil May Care has already collected a jaw-dropping amount of publicity, with even the Royal Navy helping to put the book firmly at the top of the best-seller charts (Bond is, of course, a naval commander), and few books have had such wind under their sails (the relaunch of the movie franchise with the re-make of Casino Royale and Daniel Craig's second Bond film, Quantum of Solace, is all part of the ever-accelerating momentum). Of course, this also gives the book farther to fall if it misses the mark.

    Faulks' author credit on the book ('Sebastian Faulks writing as Ian Fleming') is both revealing and encouraging - the author has reportedly said that he undertook the task with total seriousness, and he has tried to work within the parameters of the Ian Fleming formula (Faulks re-read all the extant Bond novels and stories) rather than the more glossy film incarnation. Among several very canny moves by the author is his decision to keep his 007 in the 1960s rather than catapulting him into the 21st century (as other ersatz Fleming novels - and, of course, the films -- have done. So how successful are the results?

    Fleming aficionados can relax - this is a sterling job of recreation, and a novel that functions with total authority in its own right. The evocation of time and place (or places, notably Paris and the Middle East) is impeccable, as are the plotting and detail (as colourful and violent as anything in Fleming); there is a satisfyingly unpleasant larger-than-life villain, Julius Gorner, with a grotesque deformity of the kind Fleming often gave such characters (the chapter 'The monkey's hand' gives this away) and grandiose, evil ambitions. Best of all, this is Ian Fleming's James Bond - not a superman -- worried about his health and his physical powers (which he fears may be on the wane). Delicious stuff in fact. Now... can Faulks be persuaded to write another such novel? --Barry Forshaw.

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  • Rebecca Miller

    The Private Lives of Pippa Lee
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