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The 17th-century ‘server at table’ to Charles I puts a wry spin on courtly wooing
To a Lady that Desired I Would Love Her
Now you have freely given me leave to love,
What will you doe?
Shall I your mirth, or passion move,
When I begin to wooe;
Will you torment, or scorn, or love me too?
Four novellas about damaged people weighed down by the crimes they have suffered draw you efficiently in, but the cumulative effect is numbing
Twelve-year-old Freya is visiting her self-absorbed mother in Cornwall when she meets the 14-year-old twins. “The only thing better than knowing a secret,” they tell her, “is having one of your own.” In the weeks that follow, they will rape her, then bury her alive, a mix of anxiety and annoyance flitting across their faces as they eventually release her from her makeshift coffin.
This might have stood as the shocking centrepiece of a novel, but it’s just one of many terrible events in The Elements, which collects four novellas – published separately between 2023 and 2025 – in which characters negotiate past trauma and try to find peace in the present.
A masterful account of the poet’s early life during the tumultuous 19th century crisis of faith
Alfred Tennyson was a divided soul. He even wrote a poem called The Two Voices in which dual versions of himself argued out the pros and cons of suicide. In this illuminating book, Richard Holmes has chosen to focus on the lesser known of the poet’s personae.
The year 1850 was pivotal for Tennyson. He published the great poem sequence In Memoriam, over which he had laboured for nearly two decades. He became, as a result, both famous and rich. He got married, after a 14‑year courtship. He had been living in rented homes with his mother and siblings, or dossing down with bachelor friends in London, or lurking alone in a ramshackle cottage on one of his native Lincolnshire’s bleak beaches. Now he took a house where he could receive distinguished visitors. (When Prince Albert came calling, Tennyson was so far from obsequious that he forgot to invite the queen’s consort to sit down, though he did at least offer the poor man a drink.) He was appointed poet laureate. His life as a Great Man began.
Visions of matriarchal utopia may be wishful thinking, but there’s growing evidence of women wielding power
There is a stubborn and widely held idea that in some earlier phase of our species’ existence, women had equal status to men, or even ruled, and societies were happier and more peaceful for it. Then along came the patriarchy, and much bloodshed and oppression later, here we all are.
This notion of matriarchy and patriarchy as polar opposites – with a switch having been thrown between them – was seeded in the 19th century by Marxist theory, taking root in archaeology without much evidence. From there it spread to public consciousness.
At just 20, the poet is one of the most vivid witnesses to the conflict. She talks about dreams of Oxford, the deaths of friends and how tragedy has shaped the person she has become
Batool Abu Akleen was having lunch in the seaside apartment that has become the latest refuge for her family of seven, when a missile struck a nearby cafe. It was the last day of June, an ordinary Monday in Gaza City. “I was holding a falafel wrap and looking out of the window, and the window shook,” she says. Within an instant, dozens of men, women and children were dead, in an atrocity that was reported around the world. “It doesn’t feel real sometimes,” she adds, with the nonchalance of someone numbed by living with horror.
But this impression is misleading. At just 20 years old, Abu Akleen is becoming one of Gaza’s most vivid and unstinting witnesses, whose debut poetry collection has already won accolades from the novelist Anne Michaels, the playwright Caryl Churchill and the poet Hasib Hourani, among others. She has thrown her whole being into finding a language for the unspeakable, one capable of articulating its surrealism and absurdity as well as its daily tragedies.
From superintelligent AI to the climate and democracy, three leading thinkers discuss how to navigate the future
What happens when an internationally bestselling historian, a Nobel peace prize-winning journalist and a former politician get together to discuss the state of the world, and where we’re heading? Yuval Noah Harari is an Israeli medieval and military historian best known for his panoramic surveys of human history, including Sapiens, Homo Deus and, most recently, Nexus: A Brief History of Information Networks from the Stone Age to AI. Maria Ressa, joint winner of the Nobel peace prize, is a Filipino and American journalist who co-founded the news website Rappler. And Rory Stewart is a British academic and former Conservative MP, writer and co-host of The Rest Is Politics podcast. Their conversation ranged over the rise of AI, the crisis in democracy and the prospect of a Trump-Putin wedding, but began by considering a question central to all of their work: how to live a good life in an increasingly fragmented and fragile world?
YNH People have been arguing about this for thousands of years. The main contribution of modern liberalism and democracy was to try to agree to disagree; that different people can have very different concepts of what a good life is, and they can still live together in the same society, agreeing on some very basic rules of conduct. And the challenge was always that people who think they have the absolute answer to what is a good life try to impose it on others, partly because, unfortunately for many ideologies, an inherent part of the good life is attempting to make everybody live it. And even more unfortunately, in many cases, it seems that it is easier to impose it on others than to do it ourselves. If we take the original crusade in medieval Christian Europe, you have all these people who can’t live a Christian life of modesty and compassion and love your neighbour, but they are able to travel thousands of kilometres to kill people and try to force them to live according to these principles. And what we are witnessing in the world right now is more of the same.
The novelist on the relationships that shaped his life, from schoolmates to the Rolling Stones and Edna O’Brien
The £10,000 award, whose judges include Mark Haddon and Megan Nolan, recognises ‘mould-breaking’ fiction
Sarah Hall, Charlie Porter and Yrsa Daley-Ward are among the writers shortlisted for this year’s Goldsmiths prize.
The £10,000 award recognises fiction that “breaks the mould or extends the possibilities of the novel form”.
Writers and Guardian readers discuss the titles they have read over the last month. Join the conversation in the comments
I am really excited by Namanlagh, the first poetry collection in 10 years from the great Tom Paulin. A tone-perfect meditation on illness and recovery, partnership and writing, violence and historical neglect, it is an absolute cracker. There are subtle nods to Derek Mahon and Seamus Heaney, and many of the poems are filled with a sense of late style and unfinished business.
Driven by a whodunnit-ish plot, this state-of-the-nation sequel to The Party features a family at the centre of British political life
Elizabeth Day is the right person to write a state-of-the-nation novel about our society at a point when so many are convinced it’s failing. She herself has made a successful franchise out of failure with her How to Fail podcast. She understands failure and she understands that it may be too tempting to luxuriate in it, rather than seeing how quickly it can turn into success and back again.
Day began her career with thoughtful, intimate novels about the fault lines of family life. Scissors, Paper, Stone and Home Fires were old-fashioned, heartfelt works about how cruelty trickles down the generations and how lives can be tentatively remade. Then she more ambitiously embraced the thriller genre on the one hand and a larger social canvas on the other. This has presented dangers: her last novel, Magpie, risked sacrificing characterisation altogether for the sake of a grand midway reveal; before that, The Party was so plot-driven and backstory-laden that it lacked the fine-grained intimacy of her earlier works. One of Us is a sequel to The Party, but it’s a much stronger, more distinctive novel, better read as a standalone work. Here she has returned to the intimate family dynamics at which she excels, combined with a brilliantly propulsive, almost whodunnit-ish plot and an astute analysis of power. Because the family in question is now at the heart of British political life.