A novel about human relationships, focusing, unusually for Brookner, on two male characters. Hartmann and Fibich met at school and 40 years later they can no more think of living apart than of divorcing their wives. This book deals with their gradual coming to terms with the emotional gaps in their lives.

As the solitary child of mild and gentle parents, Jane is fascinated and astounded by her exotically European aunt, Dolly. Dolly’s ways are certainly not her parents’ ways, yet she is an object of interest and dread to her beleaguered relatives. It is clear that they have nothing in common: Jane feels no affection for Dolly, and Dolly clearly dislikes children. Yet the two are fated to go through life in uneasy harness, until such time as their alliance is accepted by both as not only inevitable, but as something of great value. Read by Fiona Shaw.

Beatrice considers herself to be delicate and sensitive, idle and confused. Forced into early retirement, she has an unashamed and romantic desire to be rescued by the ideal man. But Beatrice's only family is her orderly sister, Miriam.

Moving between Nice and London, The Bay of Angels makes the point that not everyone needs conventional relationships to be happy. It relates the story of Zoe, whose life changes when her widowed mother marries a wealthy older man and moves to Nice.

Born to elegant but frivolous parents, Harriet grows up ignored and unguided, and retains a curious innocence that neither her marriage to Freddie Lytton, nor her friendship with the beautiful Tessa can dispel. Freddie is far older than she is - a companion rather than a lover - and slightly disapproving of Tessa and her irresponsible, attractive husband, Jack. Yet all four are bound together: by their backgrounds, their children, by Harriet’s unspoken feelings for Jack and by the tragedy that lies in wait for all of them.

Undue Influence is the 19th novel by Anita Brookner, the Booker Prize-winning author of Hotel du Lac. Enigmatic Claire is 30 and lives alone. When she meets Martin Gibson, a faded scholar, she becomes inordinately interested. She is even more interested when she meets his wife, a far more spectacular personality. But the unexpected news of this woman's death releases emotions that were not entirely foreseen.

When cautious Emma Roberts goes to France to carry out research into 17th century garden design, she finds a reliable diversion from her studies in her unlikely new friend Francoise Desnoyers, in whose beautiful house she is welcomed as a guest. She is not too dazzled to ignore the tensions that exist between Francoise and her formidable mother, or between Mme. Desnoyers and her other guests. London recedes into the background as life in France becomes more significant in every respect.

When Rachel becomes involved in the lives of the Livingstones it is with an acute appreciation of their home - beautifully furnished and richly decorated. They have won an undisclosed amount of money on the football pools. But rather than enjoy their new-found wealth, seem sadly resigned to it. They do, however, appear to take pleasure in the association between Rachel and their daughter Heather, seeing Rachel as a good influence. However, no one can foresee their own destiny.

Even through the roar and effervescence of the 1920s, everyone in New York has heard of Benjamin and Helen Rask. He is a legendary Wall Street tycoon; she is the daughter of eccentric aristocrats. Together, they have risen to the very top of a world of seemingly endless wealth—all as a decade of excess and speculation draws to an end. But at what cost have they acquired their immense fortune? This is the mystery at the center of Bonds, a successful 1937 novel that all of New York seems to have read. Yet there are other versions of this tale of privilege and deceit.    

Jonathan Franzen’s gift for wedding depth and vividness of character with breadth of social vision has never been more dazzlingly evident than in Crossroads. A tour de force of interwoven perspectives and sustained suspense, its action largely unfolding on a single winter day, Crossroads is the story of a Midwestern family at a pivotal moment of moral crisis. Jonathan Franzen’s gift for melding the small picture and the big picture has never been more dazzlingly evident.

Mildred Lathbury is a clergyman's daughter and a mild-mannered spinster in 1950s England. She is one of those excellent women - the smart, supportive, repressed women whom men take for granted. As Mildred gets embroiled in the lives of her new neighbors - anthropologist Helena Napier; Helen's handsome, dashing husband, Rocky; and Julian Malory, the vicar next door - the novel presents a series of snapshots of human life as actually, and pluckily, lived.

The Magician opens in a provincial German city at the turn of the 20th century, where the boy, Thomas Mann, grows up with a conservative father, bound by propriety, and a Brazilian mother, alluring and unpredictable. Young Mann hides his artistic aspirations from his father and his homosexual desires from everyone. He is infatuated with one of the richest, most cultured Jewish families in Munich, and marries the daughter Katia. They have six children. On a holiday in Italy, he longs for a boy he sees on a beach and writes the story Death in Venice. 

Orphaned at an early age, Philip Ashley is raised by his benevolent older cousin, Ambrose. Resolutely single, Ambrose delights in Philip as his heir, a man who will love his grand home as much as he does himself. But the cosy world the two construct is shattered when Ambrose sets off on a trip to Florence. There he falls in love and marries - and there he dies suddenly.

The Candy House opens with the staggeringly brilliant Bix Bouton, whose company, Mandala, is so successful that he is “one of those tech demi-gods with whom we’re all on a first name basis.” Bix is forty, with four kids, restless, and desperate for a new idea, when he stumbles into a conversation group, mostly Columbia professors, one of whom is experimenting with downloading or “externalizing” memory. 

Harvey Fierstein’s legendary career has transported him from community theater in Brooklyn, to the lights of Broadway, to the absurd excesses of Hollywood and back. I Was Better Last Night bares the inner life of this eccentric nonconforming child from his roots in 1952 Brooklyn, to the experimental worlds of Andy Warhol and the Theatre of the Ridiculous, to the gay rights movements of the seventies and the tumultuous AIDS crisis of the eighties, through decades of addiction, despair, and ultimate triumph.