Related to: 'Maggie O'Farrell'

Tinder Press

I Am, I Am, I Am: Seventeen Brushes With Death - The Breathtaking Number One Bestseller

Maggie O'Farrell
Authors:
Maggie O'Farrell
Tinder Press

This Must Be the Place: Costa Award Shortlisted 2016

Maggie O'Farrell
Authors:
Maggie O'Farrell

A RICHARD AND JUDY BOOK CLUB PICK 2017SHORTLISTED FOR THE COSTA NOVEL AWARDA top-ten bestseller, THIS MUST BE THE PLACE by Maggie O'Farrell crosses time zones and continents to reveal an extraordinary portrait of a marriage. 'A complex, riveting novel of love and hope that grips at the heart' The Sunday TimesA reclusive ex-film star living in the wilds of Ireland, Claudette Wells is a woman whose first instinct, when a stranger approaches her home, is to reach for her shotgun. Why is she so fiercely protective of her family, and what made her walk out of her cinematic career when she had the whole world at her feet?Her husband Daniel, reeling from a discovery about a woman he last saw twenty years ago, is about to make an exit of his own. It is a journey that will send him off-course, far away from the life he and Claudette have made together. Will their love for one another be enough to bring Daniel back home?

Tinder Press

THIS MUST BE THE PLACE: Exclusive Chapter Sampler

Maggie O'Farrell
Authors:
Maggie O'Farrell
Tinder Press

Maggie O'Farrell: A Reader's Guide - free digital compendium

Maggie O'Farrell
Authors:
Maggie O'Farrell
Tinder Press

Instructions for a Heatwave

Maggie O'Farrell
Authors:
Maggie O'Farrell
Tinder Press

Instructions for a Heatwave

Maggie O'Farrell
Authors:
Maggie O'Farrell
Tinder Press

The Hand That First Held Mine

Maggie O'Farrell
Authors:
Maggie O'Farrell

Winner of the 2010 Costa Novel Award and a Sunday Times bestseller, THE HAND THAT FIRST HELD MINE by Maggie O'Farrell is a gorgeously written story of love and motherhood from the author of THIS MUST BE THE PLACE.When the sophisticated Innes Kent turns up on her doorstep, Lexie Sinclair realises she cannot wait any longer for her life to begin, and leaves for London. There, at the heart of the 1950s Soho art scene, she carves out a new life. In the present day, Elina and Ted are reeling from the difficult birth of their first child. Elina struggles to reconcile the demands of motherhood with her sense of herself as an artist, and Ted is disturbed by memories of his own childhood that don't tally with his parents' version of events. As Ted begins to search for answers, an extraordinary portrait of two women is revealed, separated by fifty years, but connected in ways that neither could ever have expected.(P)2012 Headline Publishing Group Ltd

Tinder Press

The Hand That First Held Mine

Maggie O'Farrell
Authors:
Maggie O'Farrell

Winner of the 2010 Costa Novel Award,?THE HAND THAT FIRST HELD MINE by Maggie O'Farrell is a?gorgeously written story of love and motherhood, a tour de force from one of our best loved novelists.When the bohemian, sophisticated Innes Kent turns up by chance on her doorstep, Lexie Sinclair realises she cannot wait any longer for her life to begin, and leaves for London. There, at the heart of the 1950s Soho art scene, she carves out a new life for herself, with Innes at her side. In the present day, Elina and Ted are reeling from the difficult birth of their first child. Elina, a painter, struggles to reconcile the demands of motherhood with sense of herself as an artist, and Ted is disturbed by memories of his own childhood, memories that don't tally with his parents' version of events. As Ted begins to search for answers, so an extraordinary portrait of two women is revealed, separated by fifty years, but connected in ways that neither could ever have expected.

Tinder Press

After You'd Gone

Maggie O'Farrell
Authors:
Maggie O'Farrell

Tinder Press

After You'd Gone

Maggie O'Farrell
Authors:
Maggie O'Farrell

AFTER YOU'D GONE is the groundbreaking debut novel from the Costa Award winning Maggie O'Farrell, author of THIS MUST BE THE PLACE and THE HAND THAT FIRST HELD MINE. It is a stunning, best-selling novel of wrenching love and grief.A distraught young woman boards a train at King's Cross to return to her family in Scotland. Six hours later, she catches sight of something so terrible in a mirror at Waverley Station that she gets on the next train back to London.AFTER YOU'D GONE follows Alice's mental journey through her own past, after a traffic accident has left her in a coma. A love story that is also a story of absence, and of how our choices can reverberate through the generations, it slowly draws us closer to a dark secret at a family's heart.(P)2012 Headline Publishing Group Ltd

Headline Review

The Butterfly Cabinet

Bernie McGill
Authors:
Bernie McGill
Tinder Press

The Vanishing Act of Esme Lennox

Maggie O'Farrell
Authors:
Maggie O'Farrell

THE VANISHING ACT OF ESME LENNOX is classic Maggie O'Farrell: a stunning imagining of a life stolen, and reclaimed; from the Costa Award winning, bestselling author of THIS MUST BE THE PLACE.Edinburgh in the 1930s. The Lennox family is having trouble with its youngest daughter. Esme is outspoken, unconventional, and repeatedly embarrasses them in polite society. Something will have to be done.Years later, a young woman named Iris Lockhart receives a letter informing her that she has a great-aunt in a psychiatric unit who is about to be released.Iris has never heard of Esme Lennox and the one person who should know more, her grandmother Kitty, seems unable to answer Iris's questions. What could Esme have done to warrant a lifetime in an institution? And how is it possible for a person to be so completely erased from a family's history?(P)2006 Headline Publishing Group Ltd

Headline Review

The Distance Between Us

Maggie O'Farrell
Authors:
Maggie O'Farrell
Headline Review

My Lover's Lover

Maggie O'Farrell
Authors:
Maggie O'Farrell

A compulsive tale of betrayal and its impact upon a group of flatmates and lovers, Maggie O'Farrell's second novel does not disappoint. With the sensuality, passion and emotional acuteness which characterised her debut, she has written a gripping exploration of the ambivalence at the heart of intimate relationships, a keenly observed portrayal of shifting metropolitan lives and a superbly imagined story of a haunting. When Lily moves into Marcus's flat and plunges headlong into a relationship, she must contend not merely with the disapproval of flatmate Aidan, but with a more intangible, hostile presence. Could it be that Sinead, Marcus's ex, is trying to communicate with her? When Lily begins to 'see' Sinead first about the flat, and then on the streets of London, she must question not merely her sanity, but whether the man she loves is someone she can, or indeed ought to live with at all.

Author

Maggie O'Farrell

Maggie O'Farrell is the author of five novels, AFTER YOU'D GONE, MY LOVER'S LOVER, THE DISTANCE BETWEEN US, which won a Somerset Maugham Award, THE VANISHING ACT OF ESME LENNOX, and THE HAND THAT FIRST HELD MINE, which won the 2010 Costa Novel Award. She lives in Edinburgh.

Maggie speaks of her novels, inspirations, and more

Read an interview with Maggie O'Farrell

1. Was your childhood ambition always to be a writer? If not, what inspired you to start writing? It was. I’ve no idea where the impulse sprang from but I can’t remember life without it. 2. How long have you been writing? I have a very clear memory of struggling with a story when I was about four or five. I asked my mother if she would write it for me and her reply made a huge impression on me. She said, ‘But if I wrote it it would be my story, not yours.’ It was a very astute answer, I think, as it spurred me to try harder. I’ve kept a diary since I was about nine and wrote stories during my teens. At university and in my early twenties I attended poetry classes, where I was taught by Jo Shapcott and then Michael Donaghy. These had a huge effect on my writing, forcing me to economise, to make each word pull its weight. I was 24 when I started writing what would eventually become my first novel, After You’d Gone. 3. What do you enjoy most about writing? I love the solitude and the secrecy of it - as well as the escapism. 4. Which writers do you admire? Dead ones: Charlotte Bronte, RL Stevenson, George Eliot, Edith Wharton, Leo Tolstoy, Anthony Burgess, Charlotte Perkins Gilman, Molly Keane, James Hogg, Angela Carter, Virginia Woolf. Alive ones: Margaret Atwood, Philip Roth, JM Coetzee, Michele Roberts, Ali Smith, Kate Atkinson, David Mitchell, Colum McCann, Peter Carey, Jeanette Winterson, William Boyd. 5. Which authors have influenced your writing the most and why? That’s a hard question. There are too many of them. The simplest answer would be, initially, Charlotte Bronte, Charlotte Perkins Gilman and Albert Camus. I read them in my teens; your skin is at its thinnest then and you are at your most porous. What you read then will affect you for the rest of your life and I fell for Jane Eyre and The Yellow Wallpaper and The Outsider: they changed the way I looked at the world and my concept of what fiction could do. More recently, I’ve been entranced by Margaret Atwood, Virginia Woolf, Tolstoy, Edith Wharton, Angela Carter. If I like a book I might read it several times and with each read you find something different. There are books I will study. I’ve been poring over Mrs Dalloway in the last few months, trying to unpick the prose and the structure, in an attempt to work out how Woolf does it. It’s almost impossible, as it’s so brilliantly and tightly written. 6. What was the last good book you read? I’ve just finished Margaret Atwood’s The Penelopiad, her interpretation of the Odysseus myth. I loved it as it always bothered me that Penelope seemed so uncomplaining and patient in the face of her husband’s extended absence and persistant infidelity. 7. To what extent has your life experience influenced your writing? I don’t use my life in my novels, or not directly. I would never write autobiographically as I tend to write as an alternative to my life, not a repetition or imitation of it. But inevitably there are elements of it that come into my books, in different forms. I think all fiction is a patchwork of things you’ve made up, things you’ve borrowed or heard or read somewhere, and things you’ve translated from life. 8. Do you always know how your books will end before you start writing? No, not at all and that’s part of the pleasure. I have a quote by Picasso beside my desk: ‘If you know exactly what you are going to do, what is the point of doing it?’ I couldn’t imagine anything worse than planning every last detail of a book and then spending the next two or three years working through that plan. I enjoy the way your ideas for a book mutate and alter as you go along. I start – sometimes at the beginning, sometimes in the middle – often without any idea how it will end. And if I do begin with an image for the ending in mind usually by the time I get to the end it’s all changed. 9. What inspired your new novel The Vanishing Act of Esme Lennox? It is a novel I’ve wanted to write for a long time. I first had the idea – of a woman who is incarcerated in an asylum for a lifetime – fifteen years ago. I tried to write it then, as my first novel, but it didn’t work and I ended up abandoning it to write After You’d Gone instead. This was in the mid nineties, after Thatcher’s Care in the Community Act, when psychiatric hospitals were being closed down and patients turfed out. There were a lot of stories flying around at that time of people, particularly women, like Esme who had been put away for reasons of immorality and left to rot. A friend told me about his grandmother’s cousin, who had just died in an asylum, having been put there in her early twenties for “eloping with a legal clerk”. The idea never went away and I gradually amassed more and more stories and examples of girls who had been committed in the early Twentieth century for little more that being disobedient or incalcitrant. When you start to dig a little deeper, into case notes and medical reports, the findings are terrifying. I’ve always been interested in the idea of what happens to the same type of woman – uncompromising, unconventional, refusing to fit into the domestic role society has set out for her – at different times in history. Centuries ago, she might have been condemned as a witch but as recently as sixty years ago she might have been deemed insane and committed to an asylum. 10. How is your new novel different from the previous ones? It feels very different to me, in lots of way. It’s partly historical as most of the book takes place in 1930s Edinburgh and colonial India. I think it’s tighter than the others: there are only three main characters, whereas the others have tended to be more wide-ranging. I did a great deal more research for it, on psychiatric practices and institutions, on life and society in the 1930s.

Maggie speaks of her novels, inspirations, and more

Read an interview with Maggie O'Farrell

1. Was your childhood ambition always to be a writer? If not, what inspired you to start writing? It was. I’ve no idea where the impulse sprang from but I can’t remember life without it. 2. How long have you been writing? I have a very clear memory of struggling with a story when I was about four or five. I asked my mother if she would write it for me and her reply made a huge impression on me. She said, ‘But if I wrote it it would be my story, not yours.’ It was a very astute answer, I think, as it spurred me to try harder. I’ve kept a diary since I was about nine and wrote stories during my teens. At university and in my early twenties I attended poetry classes, where I was taught by Jo Shapcott and then Michael Donaghy. These had a huge effect on my writing, forcing me to economise, to make each word pull its weight. I was 24 when I started writing what would eventually become my first novel, After You’d Gone. 3. What do you enjoy most about writing? I love the solitude and the secrecy of it - as well as the escapism. 4. Which writers do you admire? Dead ones: Charlotte Bronte, RL Stevenson, George Eliot, Edith Wharton, Leo Tolstoy, Anthony Burgess, Charlotte Perkins Gilman, Molly Keane, James Hogg, Angela Carter, Virginia Woolf. Alive ones: Margaret Atwood, Philip Roth, JM Coetzee, Michele Roberts, Ali Smith, Kate Atkinson, David Mitchell, Colum McCann, Peter Carey, Jeanette Winterson, William Boyd. 5. Which authors have influenced your writing the most and why? That’s a hard question. There are too many of them. The simplest answer would be, initially, Charlotte Bronte, Charlotte Perkins Gilman and Albert Camus. I read them in my teens; your skin is at its thinnest then and you are at your most porous. What you read then will affect you for the rest of your life and I fell for Jane Eyre and The Yellow Wallpaper and The Outsider: they changed the way I looked at the world and my concept of what fiction could do. More recently, I’ve been entranced by Margaret Atwood, Virginia Woolf, Tolstoy, Edith Wharton, Angela Carter. If I like a book I might read it several times and with each read you find something different. There are books I will study. I’ve been poring over Mrs Dalloway in the last few months, trying to unpick the prose and the structure, in an attempt to work out how Woolf does it. It’s almost impossible, as it’s so brilliantly and tightly written. 6. What was the last good book you read? I’ve just finished Margaret Atwood’s The Penelopiad, her interpretation of the Odysseus myth. I loved it as it always bothered me that Penelope seemed so uncomplaining and patient in the face of her husband’s extended absence and persistant infidelity. 7. To what extent has your life experience influenced your writing? I don’t use my life in my novels, or not directly. I would never write autobiographically as I tend to write as an alternative to my life, not a repetition or imitation of it. But inevitably there are elements of it that come into my books, in different forms. I think all fiction is a patchwork of things you’ve made up, things you’ve borrowed or heard or read somewhere, and things you’ve translated from life. 8. Do you always know how your books will end before you start writing? No, not at all and that’s part of the pleasure. I have a quote by Picasso beside my desk: ‘If you know exactly what you are going to do, what is the point of doing it?’ I couldn’t imagine anything worse than planning every last detail of a book and then spending the next two or three years working through that plan. I enjoy the way your ideas for a book mutate and alter as you go along. I start – sometimes at the beginning, sometimes in the middle – often without any idea how it will end. And if I do begin with an image for the ending in mind usually by the time I get to the end it’s all changed. 9. What inspired your new novel The Vanishing Act of Esme Lennox? It is a novel I’ve wanted to write for a long time. I first had the idea – of a woman who is incarcerated in an asylum for a lifetime – fifteen years ago. I tried to write it then, as my first novel, but it didn’t work and I ended up abandoning it to write After You’d Gone instead. This was in the mid nineties, after Thatcher’s Care in the Community Act, when psychiatric hospitals were being closed down and patients turfed out. There were a lot of stories flying around at that time of people, particularly women, like Esme who had been put away for reasons of immorality and left to rot. A friend told me about his grandmother’s cousin, who had just died in an asylum, having been put there in her early twenties for “eloping with a legal clerk”. The idea never went away and I gradually amassed more and more stories and examples of girls who had been committed in the early Twentieth century for little more that being disobedient or incalcitrant. When you start to dig a little deeper, into case notes and medical reports, the findings are terrifying. I’ve always been interested in the idea of what happens to the same type of woman – uncompromising, unconventional, refusing to fit into the domestic role society has set out for her – at different times in history. Centuries ago, she might have been condemned as a witch but as recently as sixty years ago she might have been deemed insane and committed to an asylum. 10. How is your new novel different from the previous ones? It feels very different to me, in lots of way. It’s partly historical as most of the book takes place in 1930s Edinburgh and colonial India. I think it’s tighter than the others: there are only three main characters, whereas the others have tended to be more wide-ranging. I did a great deal more research for it, on psychiatric practices and institutions, on life and society in the 1930s.

Her novels, inspirations and more

An interview with Maggie O'Farrell

Click here to read an interview with Maggie O'Farrell, where she talks about her novels, inspirations and more.

07 Mar
6:00PM , WATERSTONE'S EDINBURGH WEST END

Maggie O'Farrell Author Talk - Edinburgh

Come and meet Costa novel award-winning author Maggie O'Farrell at Waterstones Edinburgh West End. She'll be reading from her eagerly awaited new novel 'Instructions for a Heatwave', and signing copies afterwards.