Books published by publisher Canongate U.S.

Margaret Atwood returns with a shrewd, funny, and insightful retelling of the myth of Odysseus from the point of view of Penelope. Describing her own remarkable vision, the author writes in the foreword, “I’ve chosen to give the telling of the story to Penelope and to the twelve hanged maids. The maids form a chanting and singing Chorus, which focuses on two questions that must pose themselves after any close reading of the Odyssey: What led to the hanging of the maids, and what was Penelope really up to? The story as told in the Odyssey doesn’t hold water: there are too many inconsistencies. I’ve always been haunted by the hanged maids and, in The Penelopiad, so is Penelope herself.” One of the high points of literary fiction in 2005, this critically acclaimed story found a vast audience and is finally available in paperback.

With wit and verve, the prize-winning author of Sexing the Cherry and Oranges Are Not the Only Fruit brings the mythical figure of Atlas into the space age and sets him free at last. In her retelling of the story of a god tricked into holding the world on his shoulders and his brief reprieve, she sets difficult questions about the nature of choice and coercion, how we choose our own destiny and at the same time can liberate ourselves from our seeming fate. Finally in paperback, Weight is a daring, seductive addition to Canongate’s ambitious series of myths by the world’s most acclaimed authors.

A “profound and provocative” reimagining of the Greek legend by the New York Times–bestselling author of Why Be Happy When You Can Be Normal? (Daily Mail). With wit and verve, Whitbread Award–winning novelist Jeanette Winterson brings the mythical figure of Atlas into the space age and sets him free at last. In her retelling of the story of a god tricked into holding the world on his shoulders and his brief reprieve, she sets difficult questions about the nature of choice and coercion, how we choose our own destiny and at the same time can liberate ourselves from our seeming fate. “Dazzling . . . Winterson’s embrace of the mythic landscape is evident in her rich imagery . . . cathartic . . . this short novel fulfills a number of the criteria myth is meant to embody” —The New York Times Book Review

In this compelling history of the United Fruit Company, Financial Times writer Peter Chapman weaves a dramatic tale of big business, deceit, and violence, exploring the origins of arguably one of the most controversial global corporations ever, and the ways in which their pioneering example set the precedent for the institutionalized greed of today’s multinational companies.The story has its source in United Fruit’s nineteenth-century beginnings in the jungles of Costa Rica. What follows is a damning examination of the company’s policies: from the marketing of the banana as the first fast food, to the company’s involvement in an invasion of Honduras, a massacre in Colombia, and a bloody coup in Guatemala. Along the way the company fostered covert links with U.S. power brokers such as Richard Nixon and CIA operative Howard Hunt, manipulated the press in new, and stoked the revolutionary ire of Che Guevara and Fidel Castro.From the exploited banana republics of Central America to the concrete jungle of New York City, Peter Chapman’s Bananas is a lively and insightful cultural history of the coveted yellow fruit, as well as a gripping narrative about the infamous rise and fall of the United Fruit Company.

“Homer’s Odyssey is not the only version of the story. Mythic material was originally oral, and also local -- a myth would be told one way in one place and quite differently in another. I have drawn on material other than the Odyssey, especially for the details of Penelope’s parentage, her early life and marriage, and the scandalous rumors circulating about her. I’ve chosen to give the telling of the story to Penelope and to the twelve hanged maids. The maids form a chanting and singing Chorus, which focuses on two questions that must pose themselves after any close reading of the Odyssey: What led to the hanging of the maids, and what was Penelope really up to? The story as told in the Odyssey doesn’t hold water: there are too many inconsistencies. I’ve always been haunted by the hanged maids and, in The Penelopiad, so is Penelope herself.” -- from Margaret Atwood’s Foreword to The Penelopiad

'Probably the greatest novel of the century' Observer'Remarkable . . . A work of loving and vivid imagination, yielding copious riches' WILLIAM BOYD Lanark, a modern vision of hell, is set in the disintegrating cities of Unthank and Glasgow, and tells the interwoven stories of Lanark and Duncan Thaw. A work of extraordinary imagination and wide range, its playful narrative techniques convey a profound message, both personal and political, about humankind's inability to love, and yet our compulsion to go on trying. First published in 1981, Lanark immediately established Gray as one of Britain's leading writers.

One relentlessly hot summer, six children explore the scorched wheat fields that enclose their tiny Italian village. When the gang find a dilapidated farmhouse, nine-year-old Michele Amitrano makes a discovery so momentous that he dare not tell a soul. It is a secret that will force Michele to question everything and everyone around him, and will bring his innocent world toppling down. An unputdownable thriller, I'm Not Scared has become a contemporary classic in Italian literature, read and celebrated the world over.

“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 Heracles 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

One boy, one boat, one tiger . . .After the tragic sinking of a cargo ship, a solitary lifeboat remains bobbing on the wild, blue Pacific. The only survivors from the wreck are a sixteen year-old boy named Pi, a hyena, a zebra (with a broken leg), a female orang-utan -- and a 450-pound Royal Bengal tiger. The scene is set for one of the most extraordinary and best-loved works of fiction in recent years.