09 April 2019
The priest. The bassoon song called ‘Where’s Claire?’ The fox. The stolen sculpture. Claire’s hair. We could go on. But instead we’re going to go and Google Andrew Scott’s speech about love one more time.
If, like us, you’re suffering from Fleabag withdrawal already, you may be feeling bereft. But we have an amazing library of non-confirmists to help you through the time it takes for you to decide to watch it all again, from the beginning.
‘I’m alone. I’m a drinker. I’m a former artist. I’m a shrieker in bed. I’m the captain of the sinking ship that is my flesh.’
Andrea is a single, childless 39-year-old woman who tries to navigate family, sexuality, friendships and a career she never wanted, but battles with thoughts and desires that few people would want to face up to.
Powerfully intelligent and wickedly funny, All Grown Up delves into the psyche of a flawed but mesmerising character. You’ll recognise yoruself in Jami Attenberg’s truthful account of womanhood, though you might not want to admit it.
‘Think BBC’s Fleabag set in Brooklyn’ Stylist
When Chris Kraus, an unsuccessful artist pushing 40, spends an evening with a rogue academic named Dick, she falls madly and inexplicably in love, enlisting her husband in her haunted pursuit. Dick proposes a kind of game between them, but when he fails to answer their letters Chris continues alone, transforming an adolescent infatuation into a new form of philosophy.
Widely considered to be the most important feminist novel of the past two decades, I Love Dick is still essential reading; as relevant, fierce and funny as ever.
‘The most important book written about men and women written in the last century’ Guardian
From neo-burlesque pop-up strip clubs, to ironic Little Mermaid-themed warehouse parties via ritual worship ceremonies summoning ancient power goddesses, disastrous one night stands with extravagantly unsuitable men, naked cleaning jobs, a forced appearance on Woman’s Hour and baby boomer house parties in Islington, Ann-Marie hurtles through London and life, urged on by legnedary feminist Stephanie, who is convinced that if she can save Ann-Marie she’ll rescue an entire generation from the curse of ironic detachment.
Fiercely clever and unapologetically wild, Eat My Heart Out is the satire for our narcissistic, hedonistic, post-post-feminist era.
Winner of the Betty Trask Prize
‘Dead smart and gloriously, mercifully, snort-out-loud hilarious’ Dazed
Alison and Veronica meet amid the nocturnal glamour of 1980s New York: one is a former modelling sensation, stumbling away from the wreck of her career, the other an eccentric middle-aged proofreader with a meticulous eye. Over the next twenty years their friendship will encompass narcissism and tenderness, exploitation and self-sacrifice, love and mortality.
Moving between the glamorous and gritty ’80s, when beauty and style gave licence to excess, and the broken world of the decade’s survivors twenty years later, Veronica evokes the fragility and mystery of human relationships in a world rife with artificiality.
‘A sensitive, astute and uncompromising exploration of the beauty and ugliness of human relationships’ Observer
It’s the tail-end of 1986 and Baby is the freshest-faced, starriest-eyed young homo in all of New York City, straight off the bus from closeted backwoods Wisconsin. Adeline is his rich-art-school-kid saviour with a bizarre transatlantic drawl and a spare bed.
The Future Won’t Be Long follows Baby and Adeline as they cling to each other for dear life through a decade of mad, bad New York life punctuated by the deaths of Warhol, Basquiat and Wojnarowicz and the forcible gentrification of the East Village. While Adeline develops into the artist she never really expected to become, Baby falls into a twilight zone of clubbing, ketamine and late-capitalistic sexual excess.
The Future Won’t Be Long is a sprawling, ecstatic elegy to the friendships that have the power to change – and save – our lives.
‘(A) druggy, sexy, filthy fictional tour of New York City at the twilight of the 20th century’ Metro
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