Best Fiction of 2025

WINNER OF THE 2025 GOLDSMITHS PRIZE A wickedly smart, Borgesian novel that explores the boundaries between art and life, vision and reality, beauty and commerce . . . When visitors to a famous conceptual artist's installation start mysteriously disappearing, the aftershocks radiate outwards through twelve people who were involved in the project, changing all of their lives, and launching them on a crazy-quilt trajectory that will end with them all together at one final, apocalyptic bacchanal. Mixing illusion and reality, simulacra and replicants, sound artists and death artists, performers and filmmakers and theorists and journalists, We Live Here Now ranges across the world of weapons dealers and international shipping to the galleries and studios on the cutting edge of hyper-contemporary art. It spins a dazzling web that conveys, with eerie precision, the sheer strangeness of what it is like to be alive today.

Shortlisted for the Center for Fiction First Novel Prize “This lacerating, exhilarating debut novel . . . manages to be both boisterous and bleak, life-enhancing and life-denying, familiar and yet wholly original. It feels essential. You will probably read nothing else like it this year.” —The Guardian “A brilliant portrait of female friendship, nearly the equal in honesty and subtlety to Elena Ferrante’s Neapolitan novels.” —Kirkus Reviews (starred review) An exuberant and ribald debut novel about three adolescent girls, as sweetly vulnerable as they are cunning and tough, coming of age in a gritty postindustrial town in nineties Yorkshire, England “Ask anyone non-Northern, they’ll only know Donny as punchline of a joke or place they changed trains once ont way to London.” But Doncaster’s also the home of Rach, Shaz, and Kel, bezzies since childhood and Donny lasses through and through. Never mind that Rach is skeptical of Shaz’s bolder plots; or that Shaz, who comes from a rougher end of town, feels left behind when the others begin plotting a course to uni; or that Kel sometimes feels split in two trying to keep the peace—the girls are inseparable, their friendship as indestructible as they are. But as they grow up and away from one another, a long-festering secret threatens to rip the trio apart. Written in a Yorkshire dialect that brings a place and its people magnificently to life, Colwill Brown’s debut novel spans decades as its heroines come of age, never shying from the ugly truths of girlhood. Like Trainspotting and Shuggie Bain, We Pretty Pieces of Flesh tracks hard-edged lives and makes them sing, turning one overlooked and forgotten town into the very center of the world.
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A gut-punch novel of girlhood in early noughties Yorkshire from a blazing new voice 'It feels essential. You will read nothing else like it this year' GUARDIAN Ask anyone non-Northern, they’ll only know Donny as punch line of a joke or place they changed trains once ont way to London. But Doncaster’s also the home of Rach, Shaz and Kel, bezzies since childhood and Donny lasses through and through. They share everything, from blagging their way into nightclubs to trips to the Family Planning clinic when they are late. Never mind that Rach is skeptical of Shaz’s bolder plots; or that Shaz, who comes from a rougher end of town, feels left behind when the others begin charting a course to uni; or that Kel sometimes feels split in two trying to keep the peace — their friendship is as indestructible as they are. But as they grow up and away from one another, a long-festering secret threatens to rip the trio apart. We Pretty Pieces of Flesh takes you by the hand and leads you through Doncaster’s schoolyards, alleyways and nightclubs, laying bare the intimate treacheries of adolescence and the ways we betray ourselves when we don’t trust our friends. Like The Glorious Heresies and Shuggie Bain, it tracks hard-edged lives and makes them sing, turning one overlooked place into the very centre of the world. 'A novel brimming with rough poetry, heart and mischief' FERDIA LENNON 'Blistering, brilliant, savage and smart' EIMEAR McBRIDE 'Unforgettable...a wondrous, luminous novel' NANA KWAME ADJEI-BRENYAH 'Brilliant and original on every level... she is a writer like nobody else' ELIZABETH McCRACKEN

NAMED ONE OF THE BEST BOOKS OF THE YEAR (SO FAR) BY THE NEW YORK TIMES A NEW YORK TIMES BOOK REVIEW BOOK CLUB SELECTION Best Books of Summer: Washington Post, TIME, USA Today, Forbes Most Anticipated Books of 2025: TIME, Publishers Weekly, Lit Hub, We Are Bookish, The Millions and Book Riot A Belletrist (Emma Roberts) Featured Book A Prose Hose (Eli Rallo) Book Club Selection The inaugural novel in the Well-Read Black Girl Books series, The Catch is a darkly whimsical tale of women daring to live and create with impunity. Twin sisters Clara and Dempsey have always struggled to relate, their familial bond severed after their mother vanished into the Thames. As infants they were adopted into different families, Clara sent to live with a successful, upper-class couple, and Dempsey with a sullen, unaffectionate city councilor. In adulthood, they are content to be all but estranged, until Clara sees a woman who looks exactly like their mother on the streets of London. The catch: this version of Serene, aged not a day, has enjoyed a childless life—the very life, it seems, she might have had if the girls had never been born. As with most things, Clara and Dempsey cannot see eye to eye on the confounding appearance of this woman. Clara, a celebrity author with a penchant for excessive drinking and one-night stands, is all too willing to welcome the confident and temperamental Serene into her home. But cloistered Dempsey, who makes a modest living doing menial data entry work from the confines of her apartment, is dubious of the whole situation, believing this all to be the insidious ruse of a con woman. Clashing over this stranger who burrows deeper and deeper into their lives, the sisters hurtle toward an altercation that threatens their very existence, forcing them to finally confront their pasts—together. In her riveting first foray into fiction, Yrsa Daley-Ward conjures a kaleidoscopic multiverse of daughterhood and mother-want, exploring the sacrifices that women must make for self-actualization. The result is a marvel of a debut novel that boldly asks, “How can it ever, ever be a crime to choose yourself?”
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'Totally original, entirely compelling and astonishingly well crafted, The Catch solidifies Yrsa Daley-Ward as one of Britain's best and boldest voices. A dark and lyrical debut that's well worth the wait.' Yomi Adegoke, author of Slay in Your Lane and The List 'A fantastic, shimmering work. Ysra Daley-Ward's rich exploration of Black womanhood and familial complexities is a must read.' Irenosen Okojie 'From one of my favourite living writers, The Catch is a slippery shape-shifting delight. Yrsa's novel is fluorescently dark and winding; brilliant in its investigation of refractions and meaning.' Eloghosa Osunde, author of VAGABONDS! 'Yrsa's work is like holding the truth in your hands. A glorious living thing' FLORENCE WELCH A darkly whimsical debut about women daring to live and create with impunity. Twin sisters Clara and Dempsey have always struggled to relate, their familial bond severed after their mother vanished into the Thames. In adulthood, they are content to be all but estranged, until Clara sees a woman who looks exactly like their mother on the streets of London. The catch: this version of Serene, aged not a day, has enjoyed a childless life. Clara, a celebrity author in desperate need of validation, believes Serene is their mother, while Dempsey, isolated and content to remain so, believes she is a con woman. As they clash over this stranger, the sisters hurtle toward an altercation that threatens their very existence, forcing them to finally confront their pasts--together. In her riveting first foray into fiction, Yrsa Daley-Ward conjures a kaleidoscopic multiverse of daughterhood and mother-want, exploring the sacrifices that Black women must make for self-actualization. The result is a marvel of a debut novel that boldly asks, "How can it ever, ever be a crime to choose yourself?"

The wondrous, elemental new novel from a 'writer of show-stopping genius' - about nature, people and the sliver of time we have left.
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A Guardian, Observer, New Statesman, Financial Times, Independent, BBC and Daily Mail Book of the Year 'Vital, fierce and free.' Financial Times 'Incandescently good.' Sarah Perry 'Pulsing with life and lyricism.' Spectator 'Fiercely exuberant.' Observer 'Delightfully playful.' Andrew Miller 'A truly astonishing thing.' George Monbiot A wondrous, elemental novel from 'a writer of show-stopping genius'. Guardian SHORTLISTED FOR THE GOLDSMITHS PRIZE, THE GORDON BURN PRIZE AND THE WINSTON GRAHAM PRIZE Helm is a ferocious, mischievous wind - a subject of folklore and wonder - who has blasted the sublime landscape of the Eden Valley since the very dawn of time. This is Helm's life story, formed from the chronicles of those the wind enchanted: the Neolithic tribe who tried to placate it, the Dark Age wizard priest who wanted to banish it, the Victorian steam engineer who attempted to capture it - and the farmer's daughter who fell in love. But now Dr Selima Sutar, surrounded by measuring instruments, alone in her observation hut, fears the end is nigh. Vital and audacious, Helm is the elemental tale of a unique life force - and of a relationship: between nature and people, neither of whom can weather life without the other. 'Sarah Hall's writing has conquered the body and the soul and now it conquers the wind itself.' DAISY JOHNSON 'I can think of no other British writer whose talent so consistently thrills, surprises and staggers.' BENJAMIN MYERS 'I'm awed . I wouldn't think a novel could be at once so taut and so multifarious, expanding one's sense of what fiction can do.' SARAH MOSS 'Helm is as vital, fierce and free as the phenomenon it describes.' FINANCIAL TIMES 'A spectacular epic tapestry. Nobody could tell the story of our inextricable relationship with wild nature as beautifully as Sarah Hall.' LEE SCHOFIELD '[Hall] sweeps from the cinematic to the specific, her prose pulsing with life and lyricism. Helm pushes both the boundaries of the novel and our relationship with nature.' SPECTATOR 'A big, celebratory book, in places delightfully playful, in others as tight and breathless as a thriller.' ANDREW MILLER

Plans for the expansion of the Capmeadow Business Park are in full swing - its mission is to become the greatest business park in the region. Tom Crowley, a mid-level employee, loses his daughter at 'bring your daughter to work day'. He raises the alarm, and his colleagues rush to help him find her. Eventually, after no sign of her is found, it transpires she was never there. And yet, as time goes on, Tom still cannot reconcile that she is really at home. Refusing to accept that she is safe, Tom continues to search for her in the maze of corridors and impossible multi-dimensional spaces that make up his place of work... Because Capmeadow is expanding in unexpected ways, a Liaison Officer becomes the central focus for complaints about how the expansion is impacting the lives of the employees - unexpected buildings, years-long business days, cursed farmers' markets, and corridors of the mind are draining the life from Tom and everyone he works with. Years pass, and Tom remains at the company, convinced he is in the presence of his now adult daughter. But has he judged it correctly? And can anything go back to the way it was??

Johnny Grant faces stark life decisions. Seeking answers, he looks back to his relationship with Jerry Field. When they met, nearly thirty years ago, Johnny was 19, Jerry was 45. They fell in love and made a life on their own terms in Jerry's flat: 1, Nova Scotia House. Johnny is still there today - but Jerry is gone, and so is the world they knew. As Johnny's mind travels between then and now, he begins to remember stories of Jerry's youth: of experiments in living; of radical philosophies; of the many possibilities of love, sex and friendship before the AIDS crisis devastated the queer community. Slowly, he realizes what he must do next--and attempts to restore ways of being that could be lost forever. Nova Scotia House takes us to the heart of a relationship, a community and an era. It is both a love story and a lament; bearing witness to the enduring pain of the AIDS pandemic and honouring the joys and creativity of queer life. Intimate, visionary, and profoundly original, it marks the debut of a vibrant new voice in contemporary fiction, and a writer with a liberating new story to tell.