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Phillip Tennent makes his living at the tideline, collecting artifacts that wash up from the Channel. It's been years since the crisis changed everything, but its exact nature remains obscure. Government barely functions, the seas are full of new creatures, an entire continent has been mislaid. It feels like the end.

Now Phillip has fished out of the water an object he can't keep. A creature that keeps changing. An artifact he must take inland, before it destroys everything he thinks he knows. The End of Everything is a slyly satirical and unsettling post-apocalyptic adventure into the limits of human understanding, from the peerless master of contemporary fiction.

From the author of My Phantoms and First Love, a droll and quietly evocative novel about work, friendship, family, and the path—so often muddled—toward finding one’s place in life.

In The Palm House, Laura's long friendship with Edmund Putnam is tested when he resigns from Sequence magazine—one of the few places he has ever felt he belonged. Putnam repines. His sweet-natured father has recently died, which has not improved his mood. Meanwhile Laura's relentlessly “outward-facing” mother is still at large and toting a new boyfriend as if he were a marotte. Laura, too, needs a new job, and a place to live that doesn't have centipedes in the kitchen. 

Gwendoline Riley's seventh novel explores acceptance and affinity. Young people don't drink anymore but Laura and Putnam are no longer young. Over wine and crisps the pair reflect on what has brought them to where they are. There are memories of childhood package holidays, teenage friendships and obsessions, peculiar love affairs, bad parties. 

Life is fleeting. Sequence magazine means something, but what? Might Putnam plot a return? The Palm House looks at what it means to find, understand, and accept where one fits.