Alex Christofi

Think of a place where you can stand at the intersection of Christian and Arab cultures, at the crossroads of the British, Ottoman, Byzantine, Roman and Egyptian empires; a place marked by the struggle between fascism and communism and where the capital city is divided in half as a result of bloody conflict; where the ancient olive trees of Homer's time exist alongside the undersea cables which link up the world's internet. In Cypria, named after a lost Cypriot epic which was the prequel to The Odyssey, British Cypriot writer Alex Christofi writes a deeply personal, lyrical history of the island of Cyprus, from the era of goddesses and mythical beasts to the present day. This sprawling, evocative and poetic book begins with the legend of the cyclops and the storytelling at the heart of the Mediterranean culture. Christofi travels to salt lakes, crusader castles, mosques and the eerie town deserted at the start of the 1974 war. He retells the particularly bloody history of Cyprus during the twentieth century and considers his own identity as traveler and returner, as Odysseus was. Written in sensitive, witty and beautifully rendered prose, with a novelist's flair and eye for detail, Cypria combines the political, cultural and geographical history of Cyprus with reflections on time, place and belonging.

Dostoevsky's life was marked by brilliance and brutality. Sentenced to death as a young revolutionary, he survived mock execution and Siberian exile to live through a time of seismic change in Russia, eventually being accepted into the Tsar's inner circle. He had three great love affairs, each overshadowed by debilitating epilepsy and addiction to gambling. Somehow, amidst all this, he found time to write short stories, journalism and novels such as Crime and Punishment, The Idiot and The Brothers Karamazov, works now recognised as among the finest ever written. In Dostoevsky in Love Alex Christofi weaves carefully chosen excerpts of the author's work with the historical context to form an illuminating and often surprising whole. The result is a novelistic life that immerses the reader in a grand vista of Dostoevsky's world: from the Siberian prison camp to the gambling halls of Europe; from the dank prison cells of the Tsar's fortress to the refined salons of St Petersburg. Along the way, Christofi relates the stories of the three women whose lives were so deeply intertwined with Dostoevsky's: the consumptive widow Maria; the impetuous Polina who had visions of assassinating the Tsar; and the faithful stenographer Anna, who did so much to secure his literary legacy. Reading between the lines of his fiction, Christofi reconstructs the memoir Dostoevsky might have written had life - and literary stardom - not intervened. He gives us a new portrait of the artist as never before seen: a shy but devoted lover, an empathetic friend of the people, a loyal brother and friend, and a writer able to penetrate to the very depths of the human soul.