Longlisted for the Man Booker Prize 2013 and the Baileys Women's Prize for Fiction 2014: the extraordinary, warm and witty novel from the Orange Prize shortlisted author of When We Were Bad.

Almost english

'The multi award-winning Charlotte Mendelson is famous for whipping up the hottest, messiest family dramas a writer of literary fiction can .

Almost English - the heart-breaking Man Booker-longlisted novel from the author of The Exhibitionist

'I loved it. The evocation of ennui and loneliness rings very true .

Love in Idleness

Beautifully written and bitingly funny, Charlotte Mendelson's prize-winning Daughters of Jerusalem is a gripping novel of hidden love and hate, of the desire to belong, and the need for escape. Amidst the crumbling yellow stone of Oxford and its prestigious university, secrets are stirring within the Lux family home .

Daughters of Jerusalem - the stunning multi prize-winning second novel from the author of The Exhibitionist

When We Were Bad is a spellbinding, witty and poignant portrayal of a family in crisi, in love, and in denial.'As intelligent as it is funny. A beautifully observed literary comedy as well as a painfully accurate description of one big old family mess. A joy' - ObserverIn North London, Claudia Rubin is in her heyday. Wife, mother, rabbi - and sometimes moral voice of the nation - everyone wants to be with her at her son Leo's glorious wedding. That is, until Leo jilts his bride, and the gleaming bubble surrounding the Rubins threatens to burst. Frances - Claudia's calm, mature, married daughter - tries to hold the nucleus of the family together, but the stress forces her to re-examine her own life, leading her to make a decision as shocking as Leo's choice to bolt. And Claudia's husband, Norman, has an uncharacteristic secret. And, whether he likes it or not, he is powerless to stop it coming out .

When We Were Bad - the dazzling, Women’s Prize-shortlisted novel from the author of The Exhibitionist

When We Were Bad

Qu'il s'agisse de Lost Love de Mme Dalloway ou de l'horreur naissante de Thérèse Raquin, les invités payants nous rappellent chaque grand roman que nous avons haleté ou grimacé, ou exhorté bruyamment les protagonistes à travers, et cela ne célèbre pas. . . . Les invités payants sont l'apothéose du talent [des eaux]; au moins pour l'instant. J'ai essayé et échoué à trouver une seule chose négative à dire à ce sujet. Son prochain sera probablement encore meilleur. Jusque-là, lisez-le, Flaubert, Zola et Weep.

Montrez-moi un romancier - ou, en effet, un lecteur - qui n'était pas un adolescent socialement maladroit et conscient de soi, sujette à maladresse et à la lecture excessive et je vais… eh bien, je vais probablement me cogner l'épaule sur le cadre de la porte comme Je sors. Beaucoup des protagonistes fictifs les plus inoubliables féminins sont Gauche, le doublage de soi, tout simplement et trop réfléchir.

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