The New York Times–bestselling author’s Whitbread Prize–winning debut—“Winterson has mastered both comedy and tragedy in this rich little novel” (The Washington Post Book World). When it first appeared, Jeanette Winterson’s extraordinary debut novel received unanimous international praise, including the prestigious Whitbread Prize for best first fiction. Winterson went on to fulfill that promise, producing some of the most dazzling fiction and nonfiction of the past decade, including her celebrated memoir Why Be Happy When You Can Be Normal?. Now required reading in contemporary literature, Oranges Are Not the Only Fruit is a funny, poignant exploration of a young girl’s adolescence. Jeanette is a bright and rebellious orphan who is adopted into an evangelical household in the dour, industrial North of England and finds herself embroidering grim religious mottoes and shaking her little tambourine for Jesus. But as this budding missionary comes of age, and comes to terms with her unorthodox sexuality, the peculiar balance of her God-fearing household dissolves. Jeanette’s insistence on listening to truths of her own heart and mind—and on reporting them with wit and passion—makes for an unforgettable chronicle of an eccentric, moving passage into adulthood. “If Flannery O’Connor and Rita Mae Brown had collaborated on the coming-out story of a young British girl in the 1960s, maybe they would have approached the quirky and subtle hilarity of Jeanette Winterson’s autobiographical first novel. . . . Winterson’s voice, with its idiosyncratic wit and sensitivity, is one you’ve never heard before.” —Ms. Magazine

A New York Times bestseller: The “magnificent” memoir by one of the bravest and most original writers of our time—“A tour de force of literature and love” (Vogue). One of the New York Times’ “50 Best Memoirs of the Past 50 Years” Jeanette Winterson’s bold and revelatory novels have established her as a major figure in world literature. Her internationally best-selling debut, Oranges Are Not the Only Fruit, tells the story of a young girl adopted by Pentecostal parents, and has become a staple of required reading in contemporary fiction classes. Why Be Happy When You Could Be Normal? is a “singular and electric” memoir about a life’s work to find happiness (The New York Times). It is a book full of stories: about a girl locked out of her home, sitting on the doorstep all night; about a religious zealot disguised as a mother who has two sets of false teeth and a revolver in the dresser, waiting for Armageddon; about growing up in a north England industrial town now changed beyond recognition; about the universe as a cosmic dustbin. It is the story of how a painful past, rose to haunt the author later in life, sending her on a journey into madness and out again, in search of her biological mother. It is also a book about the power of literature, showing how fiction and poetry can form a string of guiding lights, or a life raft that supports us when we are sinking. Witty, acute, fierce, and celebratory, Why Be Happy When You Could Be Normal? is a tough-minded story of the search for belonging—for love, identity, home, and a mother.

The most beguilingly seductive novel to date from the author of The Passion and Sexing the Cherry. Winterson chronicles the consuming affair between the narrator, who is given neither name nor gender, and the beloved, a complex and confused married woman. “At once a love story and a philosophical meditation.” —New York Times Book Review.

The story of Atlas and Heracles Atlas knows how it feels to carry the weight of the world; but why, he asks himself, does it have to be carried at all? In Weight — visionary and inventive, yet completely believable and relevant to the questions we ask ourselves every day — Winterson’s skill in turning the familiar on its head to show us a different truth is put to stunning effect. When I was asked to choose a myth to write about, I realized I had chosen already. The story of Atlas holding up the world was in my mind before the telephone call had ended. If the call had not come, perhaps I would never have written the story, but when the call did come, that story was waiting to be written. Rewritten. The recurring language motif of Weight is “I want to tell the story again.” My work is full of Cover Versions. I like to take stories we think we know and record them differently. In the retelling comes a new emphasis or bias, and the new arrangement of the key elements demands that fresh material be injected into the existing text. Weight moves far away from the simple story of Atlas’s punishment and his temporary relief when Hercules takes the world off his shoulders. I wanted to explore loneliness, isolation, responsibility, burden, and freedom too, because my version has a very particular end not found elsewhere. —from Jeanette Winterson’s Foreword to Weight

Jack is the chosen one, the Radiant Boy the Magus needs in order to perfect the alchemy that will transform London of the 1600s into a golden city. But Jack isn't the kind of boy who will do what he is told by an evil genius, and he is soon involved in an epic and nail-biting adventure, featuring dragons, knights and Queen Elizabeth I, as he battles to save London. Jeanette Winterson's first novel for children, Tanglewreck, was widely admired. Here in her second, readers will once more relish her free-spirited literary inventiveness and style.

But Time is big business, and whoever gets control of Time controls life as we know it! In a house called Tanglewreck lives a girl called Silver and her guardian Mrs Rokabye. Unbeknown to Silver there is a family treasure in the form of a seventeenth-century watch called the Timekeeper, and this treasure holds the key to the mysterious and frightening changes in time. When Silver goes on the run to try and protect herself and the Timekeeper, a remarkable and compelling adventure unfolds, full of brilliance and wit, as is befitting an author with the imagination and style of Jeanette Winterson.

The Whitbread Prize–winning author of Oranges Are Not the Only Fruit delivers a novel that “transports us to something like the future of our own planet” (The Washington Post Book World). On the airwaves, all the talk is of the new blue planet—pristine and habitable, like our own was sixty-five million years ago, before we took it to the edge of destruction. Off the air, Billie Crusoe and the renegade Robo sapien Spike are falling in love. Along with Captain Handsome and Pink, they’re assigned to colonize the new blue planet. But when a technical maneuver intended to make it inhabitable backfires, Billie and Spike’s flight to the future becomes a surprising return to the distant past—“Everything is imprinted forever with what it once was.” What will happen when their story combines with the world’s story? Will they—and we—ever find a safe landing place? Playful, passionate, polemical, and frequently very funny, The Stone Gods will change forever the stories we tell about the earth, about love, and about stories themselves. “Scary, beautiful, witty and wistful by turns, dipping into the known past as it explores potential futures.” —The New York Times Book Review “[A book] that you don’t so much read as drink in, refuse to put down, cast inside of like a hunting dog, seeking against all odds the insight that will illuminate everything, a true answer to the fix we’re in.” —Los Angeles Times “A vivid, cautionary tale—or, more precisely, a keen lament for our irremediably incautious species.” —Ursula K. Le Guin, bestselling author of Changing Planes