Gender, race and identity collide on the open seas in Xiaolu Guo’s Call Me Ishmaelle (Chatto), a powerful, feminist reimagining of Herman Melville’s Moby Dick. She was in conversation with Philip Hoare, author of Leviathan: Or the Whale, who has described Guo’s latest novel as being ‘as animal and visceral and shape-shifting and subversive as the broad back of the mythic whale themselves.’

In The Life, Old Age, and Death of a Working-Class Woman (Allen Lane), sociologist Didier Eribon continues the historical, political and personal reflection he began with his classic memoir Returning to Reims, this time turning his attention to the end of life. Tracing his mother’s rapid physical and cognitive decline, and drawing on works by Simone de Beauvoir, Norbert Elias, Annie Ernaux and Michel Foucault among others, Eribon transmutes his rage, sadness and the shame over her death into a nuanced portrait of the woman who raised him. How does our society treat the elderly, Eribon asks? Can the completely dependent speak for themselves – and if not, who can speak for them?

Eribon was in conversation about his work with the essayist and novelist Mendez.

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Seventy years after the publication of Samuel Beckett’s first novel in English, Faber have reissued Molloy, Malone Dies and The Unnamable with ritzy new covers and fresh introductions. To celebrate, Lara Pawson, author of Spent Light, and Jennifer Hodgson, whose biography of Ann Quin is forthcoming, deliver their own tribute to Beckett's fiction, and discuss his life and work. ‘Oh the stories I could tell you if I were easy,’ as Beckett wrote, ‘What a rabble in my head, what a gallery of moribunds.’

In Enemy Feminisms (Haymarket Books), described by Judith Butler as ‘honest, brutal, historically comprehensive, and brilliant’, Sophie Lewis provides a field guide to the reactionary stereotypes that have affected and distorted feminisms past and present, and propounds a paradigm for a feminism that is inclusive, anticolonial and truly liberational.

Lewis, author of Full Surrogacy Now and Abolish the Family, was joined in conversation about her work by Lola Olufemi, author of Feminism, Interrupted and Experiments in Imagining Otherwise.

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Women in Dark Times (Fitzcarraldo) begins with three remarkable women: revolutionary socialist Rosa Luxemburg; German-Jewish painter Charlotte Salomon; and film icon Marilyn Monroe. The story of these women blazes a trail across some of the defining features of the twentieth century – revolution, totalitarianism and the American dream – and compels us to reckon with the unspeakable. Extending her argument into the present, Rose turns her focus to ‘honour’ killings and celebrates contemporary artists whose work grows out of an unflinching engagement with all that is darkest in the modern world. Women in Dark Times, reissued a decade after its original publication, offers a template for a scandalous feminism, one which confronts all that is most recalcitrant and unsettling in the struggle to create a better world. Jacqueline Rose was in conversation about her work with Yasmin El-Rifae, co-producer of The Palestine Festival of Literature and author of Radius.

Art historian T.J. Clark began his academic career with two groundbreaking works on the art of mid-nineteenth century France, expounding materialist theory of art that has remained his watchword for five decades, with books on Poussin, Cézanne, Picasso and modernism. 

Those Passions: On Art and Politics (Thames and Hudson) distils a lifetime’s work through a series of case studies, from Hieronymus Bosch to Jacques-Louis David and the French Revolution, from Walter Benjamin to Pier Paolo Pasolini, exploring how art has always responded to the often chaotic and dangerous circumstances of its creation.

Clark was joined in conversation about his life and work by Caroline Arscott, Emeritus Professor of the History of Art at the Courtauld Institute.

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‘With his electric Soho, Richard Scott has arrived like a lightning bolt in our midst’ said T.S. Eliot Prize judge Sinéad Morrissey on the publication of his first collection in 2018. To celebrate publication of his second, That Broke into Shining Crystals (Faber), Richard will be reading alongside fellow poets Emily Berry (Dear Boy, Stranger Baby and Unexhausted Time) and Jane Yeh (Discipline, Marabou and Ninjas).

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Poet and playwright Ariana Reines will be making a rare UK appearance to read from her new collection with Divided Books, Wave of Blood, a lyric essay she has described as an ‘experiment in ethics’ reckoning with the US wars on terror and their repercussions.

Reines was joined in conversation by critic and academic Alice Blackhurst, whose most recent book is Luxury, Sensation and the Moving Image.

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In Wages for Housework (Allen Lane) Emily Callaci, professor of History at the University of Wisconsin-Madison, tells the story of a movement that shot to prominence in the 1970s, distilling a century of feminist struggle and critique into a single bold slogan. Focusing on five women who helped forge and fight for it – Selma James, Mariarosa Della Costa, Silvia Federici, Wilmette Brown and Margaret Prescod – Callaci takes us deep inside the heart of the movement as it reached across Europe, America, Africa and the Caribbean. For these women, the wage was more than a demand for money: it was a starting point for remaking the world as we know it. Callaci was in conversation with Helen Charman, author of Mother State: A Political History of Motherhood.

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In his debut collection Strange Beach – the very first title in Fitzcarraldo’s new poetry series – poet and choreographer Oluwaseun Olayiwola finds the body to be a porous landscape across which existential dilemmas of gender, sexuality and race are enacted and explored. Poet and novelist Andrew McMillan writes of Olayiwola’s work ‘the tideline of the poetic phrase is constantly shifting, is forever rebuilt and remade on the shifting sands of language, every grain of a word held up to the light to consider its myriad refractions.’

Olayiwola read from Strange Beach, and was joined in conversation about his work by the poet and critic Camille Ralphs.

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