Beautifully acted and presented at a gallop … one of the most entertainingly vivid radio dramas I have listened to all year’

This is SUCH a good book. I loved it - the sense of time and place is so beautiful, so haunting. And the people, as ever, are bitingly real. Wrapped in the rich lore of the Arthurian saga, Giles has given us a vital, glorious story: rich, rewarding, and utterly revealing of our times - Camelot is a novel you'll savour long after the last page has been turned.

What a wonderful book. Beautifully evocative and bone-crunchingly bloody, filled with characters I loved and hated, all conveyed in beautifully lyrical prose and edged with the sense of hope and tragedy that is essential for any retelling of the Arthurian tale. It was fabulous to go back to 5th-century Britain and dive into the fray again.

Kristian’s sequel to his acclaimed Arthurian novel Lancelot is, in some ways, even better than the first book . . . evokes post-Roman Britain in a masterly fashion, totally immersing the reader into the dank, misty, marshlands of hounded Britons and brutal Saxon invaders; of Merlin’s twisty, amoral magic and the raw, skinned-knuckle courage of the warrior trapped in the bloody crush of the shield wall. It is, in short, a triumph. Highly recommended, especially to fans of Bernard Cornwell’s seminal Warlord Chronicles.

Adventure, intrigue and love abound in this retelling of a tale that is veiled in myth and legend . . . Kristian's writing weaves a spell on the reader as surely as Merlin at the height of his powers. Kristian has done it again. Camelot is a wonderful book.

Camelot gave me one-hell of a punch. It contained some of the best writing in historical-fiction today and completely knocked me off my feet. It had the emotion and intimacy of Lancelot, just with something more. A phenomenal read.

Giles Kristian has set himself a rather monumental task. Namely, how do you follow a novel like LANCELOT - surely already a classic in the Arthurian canon and one of those books that leaves you with your head swimming and your heart thumping long after you’ve read the last word? His monumental answer is: CAMELOT . . . an immense achievement . . . together, these two novels represent something altogether more monumental. Nothing short of a new milestone in British myth-making. It deserves to be an instant classic and I’d bet my last arm-ring that it will be.

After finishing Lancelot, I had my doubts whether Camelot could have the same impact on me, whether it could captivate and enchant me in the same way. I needn’t have feared. Kristian once again works his sorcery, and weaves a superb blend of high fantasy and historical fiction, enriched by luscious prose . . . herein lies the beauty of Camelot, it is a book where the past hauntingly mirrors the present.

Camelot sees the storytelling brilliance of Giles Kristian reach for and attain new heights . . . this duology for me is now the go-to Arthurian tale, surpassing Bernard Cornwell’s . . . it truly is a classic.

A wonderfully crafted novel . . . a good book is one that will take you through a range of emotions, from laughter to tears, and that will – when you get to the final page – leave you bereft that there is no more to read, and disappointed that you know you will not read anything so good any time soon. Camelot fills all these criteria. It surprises you at every turn. It is probably the best book I will read this year – and it’s only April!

Just brilliant . . . I loved this book. From the prose, to characters, to action sequences. Everything in this book is brilliant. That is partly due to my love for anything Arthurian, but it is also due to the intricate and powerful story Giles Kristian has magically created.

Ready's lively translation succeeds in admirably capturing the psychological intensity of Dostoyevsky's style. . . . [It] replicates natural speech patterns in a way that Pevear and Volokhonsky's rather stilted translation does not. . . . [Ready's] English prose is rhythmic and, at times, poetic. . . . It is [the novel's] sense of frenzy that Ready so brilliantly captures in his new translation, which will ensure that another generation of readers remains enraptured by Crime and Punishment

Ready's vivid, new version ... is more than a Titanic idea of a great translation. It is the real thing ... Crisp and compelling, building on staccato rhythmic structures to heighten the novel's dramatic tension, then elegantly sidling into Dostoyevsky's abrupt denouement, his translation brings new life to a 150-year-old classic, rendering the familiar in fresh light

A gorgeous translation ... Inside one finds an excellent apparatus: a chronology, a terrific contextualizing introduction, a handy compendium of suggestions for further reading, and cogent notes on the translation. . . . But the best part is Ready's supple translation of the novel itself. Ready manages to cleave as closely as any prior translator to both spirit and letter, while rendering them into an English that is a relief to read

What a pleasure it is to see Oliver Ready's new translation bring renewed power to one of the world's greatest works of fiction ... Ready's work is of substantial and superb quality ... [His] version portrays more viscerally and vividly the contradictory nature of Raskolnikov's consciousness. ... Ready evokes the crux of Crime and Punishment with more power than the previous translators have ... with an enviably raw economy of prose

[An] excellent new translation

Ready's new translation of Crime and Punishment is thoughtful and elegant [and] shows us once again why this novel is one of the most intriguing psychological studies ever written. His translation also manages to revive the disturbing humour of the original ... In some places, Ready's version echoes Pevear and Volokhonsky's prize-winning Nineties version, but he often renders Dostoyevsky's text more lucidly while retaining its deliberately uncomfortable feel. . . . Ready's colloquial, economical use of language gives the text a new power

A clever modern translation of this classic of Russian horror that gave me nightmares as a student. We journey through suffering, repentance and expiation of sin

Sittenfeld's writing is so fine, her characters so vivid, her empathy so profound that she manages to absorb the reader on a level that transcends partisanship. In 2020, that was a remarkable achievement and an enormous gift to her readers

It ends up being a love letter to a type: the female intellectual, who is given none of the licence of her less talented male peers. At the end, i found myself saying Oh My God

A triumphant feminist reinvention. Sittenfeld is the bard of presidential female adjacents

RODHAM is wide- ranging political anthropology, concerned not so much with what makes Hillary tick as it is with the culture around her and how she might have shaped events, and been shaped by them, if the pieces of reality's jigsaw were rearranged just so. It's stippled with clever mischief

A smartly structured character study and a stay- up- all- night plot . . . A captivating and durable story containing rooms within rooms. RODHAM turns into a high- speed bildungsroman about a woman of formidable intellect and self- insight.

It's the genius of Sittenfeld's prose that we come to understand this ambivalence,as well as the deep conflicts in this complicated character. In the longing and loneliness, the anger as well as ambition, this Hillary makes RODHAM a compelling portrait of a future that might have been.

Tantalizing . . . part thought experiment, part wish- fulfillment fantasy . . . delectably discussable, a book tailor- made for book clubs.

Wildly compelling . . . What RODHAM is interested in is examining what feminine ambition looks like when it is untethered from a man. . . . Sittenfeld is free to invent, and the reality she builds is deliciously dishy.

Thought-provoking and compelling

A moving feat of feminist and novelistic imagination

From this memorable novel's eerie first paragraph to its enigmatic ending, Laura van den Berg has invented something beautiful indeed

This is one of my favorite novels of 2015, and we’re not even IN 2015 yet . . .The language is beautiful, spare, and carefully crafted, and the characters are fully realized and unforgettable. There is tension and redemption and insight and even humor in these pages, and they make for a really incredible read

Surreal adventures blend with a reflective and sad sensibility in van den Berg’s lyrical debut novel

Both novels offer precision of language and metaphor and scene even as what is being constructed feels messy, chaotic, sad, hopeless... Both orphaned and alone in the world, both so completely real, both telling a story that feels important and exciting to read. I feel lucky to have stumbled upon these books this year, and challenged by them to be better

This debut novel by acclaimed short story writer van den Berg tends to lean much closer to the realms of literary fiction with its complex psychology. . . Van den Berg's writing is curiously beautiful

a strange beauty in this apocalyptic tale