The Essex Review

NOW AN APPLE TV+ SERIES A Washington Post Notable Work of Fiction * Winner of the British Book Awards Fiction Book of the Year and overall Book of the Year *A Kirkus Reviews Best Book of The Year * Waterstones Book of the Year * Costa Book Award Finalist “A novel of almost insolent ambition—lush and fantastical, a wild Eden behind a garden gate...it’s part ghost story and part natural history lesson, part romance and part feminist parable. I found it so transporting that 48 hours after completing it, I was still resentful to be back home.” —New York Times London, 1893. When Cora Seaborne’s brilliant, domineering husband dies, she steps into her new life as a widow with as much relief as sadness: her marriage was an unhappy one, and she never suited the role of society wife. Seeking refuge in fresh air and open space, she leaves the metropolis for coastal Essex, accompanied by her inquisitive and obsessive eleven-year-old son, Francis, and the boy’s nanny, Martha, her fiercely protective friend. Once there, they hear rumors that after nearly three hundred years, the mythical Essex Serpent, a fearsome creature that once roamed the marshes, has returned. When a young man is mysteriously killed on New Year’s Eve, the community’s dread transforms to terror. Cora, a keen amateur naturalist with no patience for religion or superstition, is immediately enthralled, certain that what locals think is a magical sea beast may be a previously undiscovered species. Eager to investigate, she is introduced to parish vicar William Ransome, who is equally suspicious of the rumors but for different reasons: a man of faith, he is convinced the alarming reports are caused by moral panic, a flight from the correct and righteous path. As Cora and William attempt to discover the truth about the Essex Serpent’s existence, these seeming opposites find themselves inexorably drawn together in an intense relationship that will change both of them in ways entirely unexpected. And as they search for answers, Cora’s London past follows her to the coast, with striking consequences. Told with exquisite grace and intelligence, The Essex Serpent masterfully explores questions of science and religion, skepticism and faith, but it is most of all a celebration of love, and the many different—and surprising—guises it can take.

The debut novel by the bestselling author of THE ESSEX SERPENT One hot summer's day, John Cole decides to leave his life behind. He shuts up the bookshop no one ever comes to and drives out of London. When his car breaks down and he becomes lost on an isolated road, he goes looking for help, and stumbles into the grounds of a grand but dilapidated house. Its residents welcome him with open arms - but there's more to this strange community than meets the eye. They all know him by name, they've prepared a room for him, and claim to have been waiting for him all along. Who are these people? And what do they intend for John? Elegant, gently sinister and psychologically complex, After Me Comes the Flood is the haunting debut novel by the author of The Essex Serpent.

'Not all Essex girls are party girls. They can be sages, martyrs, leaders. In her neat and provocative little book, Sarah Perry celebrates their courage and vivacity.' Hilary Mantel A defence and celebration of the Essex Girl by the best-selling author of The Essex Serpent Essex Girls are disreputable, disrespectful and disobedient. They speak out of turn, too loudly and too often, in an accent irritating to the ruling classes. Their bodies are hyper-sexualised and irredeemably vulgar. They are given to intricate and voluble squabbling. They do not apologise for any of this. And why should they? In this exhilarating feminist defence of the Essex girl, Sarah Perry re-examines her relationship with her much maligned home county. She summons its most unquiet spirits, from Protestant martyr Rose Allin to the indomitable Abolitionist Anne Knight, sitting them alongside Audre Lorde, Kim Kardashian and Harriet Martineau, and showing us that the Essex girl is not bound by geography. She is a type, representing a very particular kind of female agency, and a very particular kind of disdain: she contains a multitude of women, and it is time to celebrate them.

A recovering Mad Man throws down the ultimate challenge to his profession: Innovate or die. The ad apocalypse is upon us. Today millions are downloading ad-blocking software, and still more are paying subscription premiums to avoid ads. This $600 billion industry is now careening toward outright extinction, after having taken for granted a captive audience for too long, leading to lazy, overabundant, and frankly annoying ads. Make no mistake, Madison Avenue: Traditional advertising, as we know it, is over. In this short, controversial manifesto, Andrew Essex offers both a wake-up call and a road map to the future. In The End of Advertising, Essex gives a brief and pungent history of the rise and fall of Adland—a story populated by snake-oil salesmen, slicksters, and search-engine optimizers. But his book is no eulogy. Instead, he boldly challenges global marketers to innovate their way to a better ad-free future. With trenchant wit and razor-sharp insights, he presents an essential new vision of where the smart businesses could be headed—a broad playing field where ambitious marketing campaigns provide utility, services, gifts, patronage of the arts, and even blockbuster entertainment. In this utopian landscape, ads could become so enticing that people would pay—yes, pay—to see them. Praise for The End of Advertising “New York media types aren’t quick to pass up a party, even one celebrating a book that predicts their demise. . . . The future of marketing will need to rely on creative, innovative models, Mr. Essex wrote, pointing to The Lego Movie and New York’s Citi Bike bicycle-share program as promising examples.”—The New York Times “A rabble-rousing indictment of the ad industry from one of its own. Essex predicts that success will depend less on the ability to annoy and more on the capacity to create and entertain.”—Adam Grant, New York Times bestselling author of Originals and Give and Take “Fresh and timely, The End of Advertising is an eye-opening take on the current media landscape. And along with it, Essex provides a road map for how brands can reinvent themselves and navigate this new world.”—Arianna Huffington “In this dynamic little book, Essex challenges brands—even those of us who pride ourselves on thinking outside the box—to think bigger still. He’s got me thinking.”—Neil Blumenthal, co-founder of Warby Parker “Mandatory reading for anyone who wants to get a message across in this age of authenticity.”—Alexis Ohanian, co-founder, Reddit

While the sea continues to offer him discoveries from its mysterious depths, such as a giant squid, a teenaged boy struggles to deal with the difficulties that come with the equally mysterious process of growing up.

"Suppose that everything we think we know about the Victorians is wrong." So begins Inventing the Victorians by Matthew Sweet, a compact and mind-bending whirlwind tour through the soul of the nineteenth century, and a round debunking of our assumptions about it. The Victorians have been victims of the "the enormous condescension of posterity," in the historian E. P. Thompson's phrase. Locked in the drawing room, theirs was an age when, supposedly, existence was stultifying, dank, and over-furnished, and when behavior conformed so rigorously to proprieties that the repressed results put Freud into business. We think we have the Victorians pegged--as self-righteous, imperialist, racist, materialist, hypocritical and, worst of all, earnest. Oh how wrong we are, argues Matthew Sweet in this highly entertaining, provocative, and illuminating look at our great, and great-great, grandparents. One hundred years after Queen Victoria's death, Sweet forces us to think again about her century, entombed in our minds by Dickens, the Elephant Man, Sweeney Todd, and by images of unfettered capitalism and grinding poverty. Sweet believes not only that we're wrong about the Victorians but profoundly indebted to them. In ways we have been slow to acknowledge, their age and our own remain closely intertwined. The Victorians invented the theme park, the shopping mall, the movies, the penny arcade, the roller coaster, the crime novel, and the sensational newspaper story. Sweet also argues that our twenty-first century smugness about how far we have evolved is misplaced. The Victorians were less racist than we are, less religious, less violent, and less intolerant. Far from being an outcast, Oscar Wilde was a fairly typical Victorian man; the love that dared not speak its name was declared itself fairly openly. In 1868 the first international cricket match was played between an English team and an Australian team composed entirely of aborigines. The Victorians loved sensation, novelty, scandal, weekend getaways, and the latest conveniences (by 1869, there were image-capable telegraphs; in 1873 a store had a machine that dispensed milk to after-hours' shoppers). Does all this sound familiar? As Sweet proves in this fascinating, eye-opening book, the reflection we find in the mirror of the nineteenth century is our own. We inhabit buildings built by the Victorians; some of us use their sewer system and ride on the railways they built. We dismiss them because they are the age against whom we have defined our own. In brilliant style, Inventing the Victorians shows how much we have been missing.

After moving to his uncle's farm, 10-year-old orphan Lester befriends the town's gas station owner, damaged former hockey star Jimmy Lebeuf, and the two escape to a fantasy world of super-heroes, alien invaders, and old-fashioned pond hockey.