Michael FlayMike picture

Michael Flay is the author of two short story collections and three novels.

His first novel, The Watchers, focuses on themes of disability and discrimination contrasted with perversion within seeming ‘normality’. His imagination is visceral and he faces political and social issues head on.

The Lord imagines a story unfolding around an aristocrat who finds a lost manuscript, seemingly written by a famous author. It explores personal relationships distorted by wealth and status, and considers to what extent an individual locked into a particular social role can develop or be changed by a new experience.

In The Persian Wedding Flay explores inter-cultural love and marriage, looking at the recent politics of Islam in Iran and its effect on the private lives of those living through the revolution and its aftermath.

Michael Flay was an academic and university teacher.


John Harvey  jharvey

John Harvey’s first novel, The Plate Shop, described shop floor life in a heavy engineering works: it won the David Higham Prize for Fiction and was shortlisted for the Hawthornden Prize and the Yorkshire Post Fiction Prize. Coup d’Etat depicted life under the Greek military dictatorship of the Colonels, and the dictators themselves: it was described in The Observer as ‘Tolstoyan’ and was selected by Chris Patten, in The Sunday Telegraph, as ‘the novel which shows the best grasp of political life’. The Legend of Captain Space considered how strange and frightening the experience of motherhood may be: A. S Byatt said in The Independent that it created ‘perfected instances of some terrible mystery of human existence’. Maureen Freely, in The Independent on Sunday, found its picture of parenthood ‘eerie, convincing, and, in a perverse way, beautiful’.

His latest novel, The Subject of a Portrait (Polar Books, 2014), records the trip to Scotland, in 1853, when John Ruskin’s protégé, the young painter John Everett Millais, fell in love with Ruskin’s wife Effie while painting a famous portrait of Ruskin himself. The novel was described in The Independent as ‘a discerning and rather sumptuous study of one of history’s most infamous love triangles.’ The PRS Review called it ‘A true page-turner . . . it becomes impossible to put down’ and Christopher Ricks found it ‘excellent; I was taken by every page; more, every sentence . . . It is beautifully and startlingly written . . . a very fine love story’.

His non-fiction books include an acclaimed history of the colour black in men’s dress, Men in Black, which was shortlisted for the Grand Prix du Livre de Mode (Paris, 1995), and has been translated into seven languages. The Literary Review called it ‘a brilliantly sustained, illuminating and subtle disquisition on the malaise of nineteenth and twentieth-century English society’. His new book on the colour, The Story of Black (2013) is described in the Journal of Visual Studies as a ‘a pacey tour de force . . . composed and elegant . . . an excellent, readable and even joyful general introduction to a complex topic.’

John Harvey is a Life Fellow of Emmanuel College, Cambridge.


Julietta Harvey authorfoto

Julietta Harvey was born and educated in Thessaloniki, Greece. She came to England on a British Council Scholarship and took her PhD at Cambridge, where she was elected to a Fellowship at Clare Hall. She has published on Seventeenth Century English literature and on Greek contemporary fiction. Her first novel, Familiar Wars, now re-released by Polaar Books UK, was shortlisted for the Whitbread First Novel Prize, the Angel Literary Award, and the PEN Macmillan Prize. Familiar Wars is a story of refugees, Greeks expelled from Asia Minor arriving in northern Greece in 1922. It tells, over two generations, a history of displacement and energetic survival. It portrays the intimate penetration of war into the metabolism of a family, shaping an individual imagination.

One Third of Paradise, Julietta Harvey’s second novel, is a sequel to Familiar Wars. It was shortlisted for the London Hellenic Prize 2016, whose judges found in it ‘the weight and resonance of the great tragic tradition, from the Greeks to Shakespeare’. Farm Lane Books predicted that it would be long-listed for the Booker Prize, and it was included in the long list for the Guardian‘s Not the Booker Prize.