Margaret Drabble's novels have illuminated the past fifty years, especially the changing lives of women, like no others. Yet her short fiction has its own unique brilliance. Her penetrating evocations of character and place, her wide-ranging curiosity, her sense of irony—all are on display here, in stories that explore marriage, female friendships, the English tourist abroad, love affairs with houses, peace demonstrations, gin and tonics, cultural TV programs; in stories that are perceptive, sharp, and funny. An introduction by the Spanish academic José Fernández places the stories in the context of her life and her novels. This collection is a wonderful recapitulation of a masterly career.

In a remarkably honest and confident voice, Sarah Winman has written the story of a memorable young heroine, Elly, and her loss of innocence—a magical portrait of growing up and the pull and power of family ties. From Essex and Cornwall to the streets of New York, from 1968 to the events of 9/11, When God Was a Rabbit follows the evolving bond of love and secrets between Elly and her brother Joe, and her increasing concern for an unusual best friend, Jenny Penny, who has secrets of her own. With its wit and humor, engaging characters whose eccentricities are adroitly and sometimes darkly drawn, and its themes of memory and identity, When God Was a Rabbit is a love letter to true friendship and fraternal love.

Funny, utterly compelling, fully of sparkle, and poignant, too, When God Was a Rabbit heralds the start of a remarkable new literary career.

In July 1864, Thomas Briggs was travelling home after visiting his niece and her husband for dinner. He entered a First Class carriage on the 9.45 pm Hackney service of the North London railway. At Hackney, two bank clerks entered the carriage and discovered blood in the seat cushions; also on the floor, windows and sides of the carriage. A bloodstained hat was found on the seat along with a broken link from a watch chain. The race to identify the killer and catch him as he flees on a boat to America was eagerly followed by citizens both sides of the Atlantic. Kate Colquhoun tells a gripping tale of a crime that shocked the nation.

Imagine you give a dinner party and a friend of a friend brings a stranger to your house as his guest. He seems pleasant enough. Imagine that this stranger goes upstairs halfway through the dinner party and locks himself in one of your bedrooms and won't come out. Imagine you can't move him for days, weeks, months. If ever. This is what Miles does, in a chichi house in the historic borough of Greenwich, in the years 2009-10, in "There but for the". Who is Miles, then? And what does it mean, exactly, to live with other people? Sharply satirical and sharply compassionate, with an eye to the meanings of the smallest of words and the slightest of resonances, "There but for the" fuses disparate perspectives in a crucially communal expression of identity and explores our very human attempts to navigate between despair and hope, enormity and intimacy, cliche and grace. Ali Smith's dazzling new novel is a funny, moving book about time, memory, thought, presence, quietness in a noisy time, and the importance of hearing ourselves think.

When former infantry officer Laurence Bartram is called to the small village of Easton Deadall, he is struck by the beauty of the place: a crumbling stately home; a centuries-old church; and a recently planted maze, a memorial to the men of the village, almost all of whom died in one heroic battle in 1916. But it soon becomes clear to Laurence that while rest of the country is alight with hope for the first time since the end of the War, as the first Labour government takes power, the Wiltshire village is haunted by its tragic past. In 1911, five-year-old Kitty Easton disappeared from her bed and has not been seen since: only her fragile mother believes still she is alive. When a family trip to the Empire Exhibition in London ends in disaster and things take an increasingly sinister turn, Laurence struggles to find out what has happened as it seems that the fate of the house, the men and of Kitty herself may be part of a much longer, darker story of love, betrayal—and violence. This is the second book in a series which began with The Return of Captain John Emmett

Seven portraits. Seven artists. Seven girls and women reading. A young orphan poses nervously for a Renaissance maestro in medieval Siena, and an artist's servant girl in 17th-century Amsterdam snatches a moment away from her work to lose herself in tales of knights and battles. A young woman reading in a Shoreditch bar catches the eye of a young man who takes her picture, and a Victorian medium holds a book that she barely acknowledges while she waits for the exposure. Each chapter of this richly textured debut takes us into a perfectly imagined tale of how each portrait came to be, and as the connections accumulate, the narrative leads us into the present and beyond - an inspired celebration of women reading and the artists who have caught them in the act.

In the rainswept summer of 1968, Rose sets off for the United States from Kentish Town to meet a man she knows as Washington Harold, in her suitcase a polka-dot dress and a one-way ticket. In a country rocked by the assassination of Martin Luther King and a rising groundswell of violence, they are to join forces in search of the charismatic and elusive Dr Wheeler—oracle, guru and redeemer—whom Rose credits with rescuing her from a terrible childhood, and against whom Harold nurses a silent grudge.

As they trail their quarry, zigzagging through America in a camper van, the odd couple—Rose, damaged child of grey postwar Britain, and nervous, obsessive, driven Harold—encounter a ragged counter-cultural army of Wheeler's acolytes, eddying among dangerous currents of obscure dissent and rage. But somewhere in the wide American darkness, Dr Wheeler is waiting.

What happens when you give a friend money? Fiona Peek's zeitgeist drama about food and fertility colliding with lean finances is told through a sequence of highly theatrical dinner parties.

Fiona Peek worked for many years as an actress and director in Ireland, before returning to England and completing an MA in Dramatic Writing. Her first full-length play, Salt, was joint-winner of the 2008 Bruntwood Playwriting Competition, and was premiered at the Royal Exchange Theatre, Manchester, in February 2010.