Fran Lebowitz

One of the leitmotifs in Martin Scosese’s second and most recent documentary about her, Pretend It’s a City, are the shots of a solitary Lebowitz strolling around New York in her distinctive uniform of a long overcoat, Levi’s 501s and loafers, observing everything and detached from it all. So doesn’t she resent that her aversion to technology now makes her so dependent on others? “No, I just think, isn’t it lucky I have friends who have these things and can do them for me?” she says, with the smile of one who has arranged her life exactly as she wants it to be. Hadley Freeman, The Guardian

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David Grossman’s follow-up to the International Booker-winning A Horse Walks Into a Bar is a Russian doll of a novel, a book of secrets wrapped within secrets. It’s told by Gili, a film-maker, a damaged young woman who has already tried to end her life once. In a narrative that is teasingly digressive, threading back and forward between different time periods, between first- and third-person voices, we slowly learn the tragic story of Gili and her family, the way the brutal legacy of the 20th-century’s violence has written itself into the lives of these decent, wounded people. Alex Preston, The Guardian