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  • Published: 7 September 2017
  • ISBN: 9780241973318
  • Imprint: Penguin General UK
  • Format: Paperback
  • Pages: 272
  • RRP: $19.99


(Seasons Quartet 1)

'The novel of the year is obviously Ali Smith's Autumn... Expansive, shape-shifting, at once more stringent and more consoling than anything I've read this year' Olivia Laing, Observer

Autumn 2016: Daniel is a century old. Elisabeth, born in 1984, has her eye on the future. And the UK is in pieces, divided by a historic once-in-a-generation summer. Love is won, love is lost. Hope is hand in hand with hopelessness. The seasons roll round, as ever.
Ali Smith's new novel is a meditation on a world filling up with borders, on what richness and worth are, on what harvest means. From Shakespearian jeu d'esprit, via Keatsian melancholy and the sheer bright energy of 1960s Pop Art, this first in a quartet of novels casts an eye over our own time, asking who we are, where we are, right now.
Here is time, ever-changing, ever cyclical. Here comes Autumn.

  • Published: 7 September 2017
  • ISBN: 9780241973318
  • Imprint: Penguin General UK
  • Format: Paperback
  • Pages: 272
  • RRP: $19.99

About the author

Ali Smith

Ali Smith is the author of Free Love and Other Stories, Like, Other Stories and Other Stories, Hotel World, The Whole Story and Other Stories, The Accidental, Girl Meets Boy, The First Person and Other Stories, There but for the, Artful, How to be both, Public library and other stories and Autumn. Hotel World was shortlisted for the Booker Prize and the Orange Prize and The Accidental was shortlisted for the Man Booker and the Orange Prize. How to be both won the Baileys Women's Prize for Fiction, the Goldsmiths Prize and the Costa Novel Award and was shortlisted for the Man Booker and the Folio Prize. Ali Smith lives in Cambridge.

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Praise for Autumn

Diverse and delightful. These sharp little essays capture the wonder of things with photographic immediacy. This is an inspiring, surprising collection

The Times

Brilliantly conveys the sense you get, as a prospective parent, that the world is brand new. It's all beautifully done.

William Leith, Evening Standard

Knausgaard is an acute, sometimes squirmingly honest analyst of domesticity and his relationship to his family.

Lisa Schwarzbaum, Newsweek Europe

Quietly illuminates Knausgaard's profound gift for making the reader see the world in fresh and unpredictable ways.

Stuart Evers, The Observer

Autumn. returns to the scintillating tangent that characterized the early volumes of My Struggle, when he still allowed his midlife self airtime. On each subject [Knausgaard] combines an almost comically microscopic focus with a stealthy flair for producing a bigger picture that is all the more arresting for arriving by surprise.

Anthony Cummins, Daily Telegraph

It is when elements of autobiography creep in that the book comes most alive, as when he writes about choosing his father's wellington boots as a memento after his death.

Jake Kerridge, Daily Telegraph

Taking the old repetitive elements of life, Knausgaard's detailed observations open our eyes to their unexpected yet remarkable qualities.

Kathleen McNamee, Irish Times

This book is full of wonders. Loose teeth, chewing gum, it all becomes noble, almost holy, under Knausgaard's patient, admiring gaze. The world feels repainted.

Parul Sehgal, New York Times

Knausgaard writes about the textures of ordinariness with a microscopic focus that's both wondrous and absurd. There are blissful glimpses of nature's mystery and balance.

Henry Hitchings, Financial Times

In Autumn, a lyrical cabaret beside the grand opera of the My Struggle books, taboo memories and forbidden feelings disrupt the grown-up project of a compendium of fatherly wisdom... Autumn glows with a radiant attachment to 'the world, as it is'... From sunshine to head-lice, it celebrates the 'dizzying intensity of being'.

The Economist

In these secular meditations, Knausgaard scratches away at the ordinary to reach the sublime - finding what's in the picture, and what's hidden

Rodney Welch, Washington Post

Knausgaard's sentences, as long as waves, use the plainest, least literary language. You paddle out unsuspecting. This is easy, you think, striking out. But Knausgaard writes by undertow. Turn round and you are alone, far out in the drowning solitudes. It is truly hopeful and this, for Knausgaard, is a departure.

Laura Beatty, Oldie

Having given us his saga of experience, these are Knausgaard's Songs of Innocence. The tension for the reader lies in watching the author navigate his way from the banal into the celestial otherness of the thing he is encountering. Knausgaard sees the world in a grain of sand and heaven in a wild flower.

Frances Wilson, Times Literary Supplement

There are gorgeous, poetic observations on almost every page.

Marina Benjamin, New Statesman

.the modest ambitions of Autumn - 'to show you our world as it is now: the door, the floor, the water tap' - add up to a phenomenological rescue mission, one the writer undertakes on behalf of his daughter, but also of himself and his reader. Day by day, radiantly, the mission succeeds.

Garth Risk Hallberg, The New York Times Book Review

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