From the Man Booker–shortlisted and Baileys Prize–winning author of How to be both: a breathtakingly inventive new novel—about aging, time, love, and stories themselves—that launches an extraordinary quartet of books called Seasonal. Readers love Ali Smith's novels for their peerless innovation and their joyful celebration of language and life. Her newest, Autumn, has all of these qualities in spades, and—good news for fans!—is the first installment in a quartet. Seasonal, comprised of four stand-alone books, separate yet interconnected and cyclical (as are the seasons), explores what time is, how we experience it, and the recurring markers in the shapes our lives take and in our ways with narrative. Fusing Keatsian mists and mellow fruitfulness with the vitality, the immediacy, and the color hit of Pop Art, Autumn is a witty excavation of the present by the past. The novel is a stripped-branches take...

The Accidental is the dizzyingly entertaining, wickedly humorous story of a mysterious stranger whose sudden appearance during a family’s summer holiday transforms four variously unhappy people. Each of the Smarts–parents Eve and Michael, son Magnus, and the youngest, daughter Astrid–encounter Amber in his or her own solipsistic way, but somehow her presence allows them to se their lives (and their life together) in a new light. Smith’s exhilarating facility with language, her narrative freedom, and her chromatic wordplay propel the novel to its startling, wonderfully enigmatic conclusion.Ali Smith’s acclaimed novel won the prestigious Whitbread Award and was a finalist for the Man Booker Prize, the Orange Prize, and the James Tait Black Memorial Prize.From the Trade Paperback edition.Amazon.com ReviewBefore writing The Accidental, Ali Smith wrote Hotel World, shortlisted for both the Orange Prize and the Man Booker Prize, and several short story collections. Her work is absolutely original, with a trademark quirky style, with whole passages that seem to have been bound into the wrong book and occasional historical asides completely outside the narrative line. Don't be fooled; with Smith, every word has a purpose. Amber is the catalyst who makes the novel happen. She appears on the doorstep of the Smart's rented summer cottage in Norfolk, England, barefoot and unexpected. Eve Smart, a third-rate author suffering writer's block, believes that she is a friend of her husband's. Michael is a womanizing University professor, but he doesn't usually drag his quarry home. He thinks that she must be a friend of Eve's. Everyone is politely confused and Amber is invited to dinner. She is a consummate liar and manipulator who manages to seduce everyone in the family in some significant way. Magnus, Eve's 17-year-old son from a former marriage and Astrid, her 12-year-old daughter, are easy prey. Magnus is in despair. He played a prank on a classmate and it went horribly wrong when she killed herself because of the humiliation it caused. He cannot shake the guilt and is about to hang himself from the shower rod when Amber walks into the bathroom, the perfect deus ex machina. She bathes him and takes him back downstairs, announcing that she found him trying to kill himself. Everyone titters. Could it be possible? This is a recurring question as Amber's behavior becomes more and more outrageous. Is this really happening, or is it some family-wide delusion? To add to the mystery, there is a Rashomon-like character to the story in that the same events are recalled by the Smarts through their own filters. This is a completely engrossing novel that raises as many questions as it answers. --Valerie RyanFrom Publishers WeeklyHeather O'Neill plays Amber, a mysterious stranger who wangles her way into the lives of a vacationing English family spending the summer in a remote cottage. O'Neill reads with studious detachment and a persistent air of mischief, as if the entire story is a particularly juicy practical joke. Given Amber's predilection for wreaking havoc in her new adopted family's comfortably misguided lives, the emotion is supremely apropos. O'Neill is joined by a cast of performers, including Ruth Moore as the perpetually harried, perpetually preoccupied Eve, who spends all her time dreaming of the characters of the latest historical novel she's writing, and Stina Nielsen as Astrid, a 12-year-old with a frightening imagination and a propensity for recording the world on her video camera. The bulk of the book, though, is read by O'Neill, who provides a suitably nuanced reading, at times placid, at times flashing an air of free-floating menace. It is her work, above all, that brings Smith's novel to fully fleshed existence. Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Woooooooo-hooooooo.Five people: four are living; three are strangers; two are sisters; one, a teenage hotel chambermaid, has fallen to her death in a dumbwaiter. But her spirit lingers in the world, straining to recall things she never knew. And one night all five women find themselves in the smooth plush environs of the Global Hotel, where the intersection of their very different fates make for this playful, defiant, and richly inventive novel. Forget room service: this is a riotous elegy, a deadpan celebration of colliding worlds, and a spirited defense of love. Blending incisive wit with surprising compassion, Hotel World is a wonderfully invigorating, life-affirming book.From the Trade Paperback edition.

In Girl Meets Boy, Ali Smith reinterprets the Myth of Iphis, the girl who became a boy, as a brilliant hybrid of satire and romantic comedy. Anthea works at Pure, helping men with shaved heads think up brand names for water: call it Affluent, she suggests. Or Main Stream. She is not, truth be told, completely focused. Until she sees the boy up the ladder, spray-painting the company billboard: WATER IS A HUMAN RIGHT, she reads. SELLING IT IS MORALLY WRONG. The boy up the ladder, dressed in a kilt and sporran. A bright red tartan; a black waistcoat. Frilly cuffs. He is the most beautiful boy Anthea has ever seen in her life. No, look again. She is the most beautiful boy Anthea has ever seen in her life. This is a warm, funny, subversive romp through the murky hinterland of corporate perfidy, by an author the Scotsman has described as 'one of our greatest imaginative writers'. Girl Meets Boy is Ali Smith's contribution to the...

The second novel in the Man Booker Prize–nominated author's Seasonal cycle; the much-anticipated follow-up to Autumn (a New York Times, Washington Post, NPR, Financial Times, The Guardian, Southern Living, and Kirkus Reviews best book of the year). Winter. Bleak. Frosty wind, earth as iron, water as stone, so the old song goes. And now Art's mother is seeing things. Come to think of it, Art's seeing things himself. When four people, strangers and family, converge on a fifteen-bedroom house in Cornwall for Christmas, will there be enough room for everyone? Winter. It makes things visible. Ali Smith's shapeshifting Winter casts a warm, wise, merry and uncompromising eye over a post-truth era in a story rooted in history and memory and with a taproot deep in the evergreens, art and love.