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Auf den ersten Blick erinnern Walton Fords großformatige, detailreiche Tieraquarelle an die Drucke der Illustratoren John James Audubon und Edward Lear aus dem 19. Jahrhunderts. Bei genauerem Hinsehen eröffnet sich jedoch ein komplexes und beunruhigend anthropomorphes Universum voller Symbolik, hintergründigem Humor und Anspielungen auf die "Opernhaftigkeit" traditioneller Naturkunde. In diesem beeindruckenden und zugleich unheimlichen visu...

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This special, double issue of Granta is organized to fill a gap, a felt emptiness in current literary achievement. At a time when it is imperative that we have a literature and a language that are responsible, accountable and instrumental to the lives of we are having to lead - a literature that is an adversary of oppression and not an accomplice to it - we have instead a writing that is remarkable only for its dubious feats of technical virtu...

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Martin Amis's tale of Nicola Six, a girl who's been trouble all her life. Plus: 'Gibraltar', Ian Jack's award-winning investigation into the Death on the Rock, Raymond Carver, Tess Gallagher, Todd McEwen, John Berger, Angela Carter, and Don DeLillo.

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Is it the end of the English novel? Has it grown predictable and unadventurous? Granta 3 collects work from writers and critics which points to the fact that our terms have grown inadequate: it is the end of the English novel, but it is also the beginning - quite possibly an extremely important beginning - of British fiction.

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From Nobel laureates to debut novelists, international translations to investigative journalism, each issue of Granta turns the attention of the world's best writers on to one aspect of the way we live now.

In this issue, arguments for the future of publishing by Brigid Brophy, John Sutherland, David Caute, Blake Morrison, Per Gedin, David Godine and Walter Abish. Also, fiction from Martin Amis, Guy Davenport, Nicole Ward Jouve, Kenneth Bernard and Raymond Carver. Plus, an essay on realism and sexuality by Mario Vargas Llosa.

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A story becomes a story once it has an ending, and there is no ending more powerful than death. But what of death itself? Here, fourteen writers and photographers set out to look at it: John Gregory Dunne, Adam Mars-Jones, Mary McCarthy, Edmund White, Louise Erdrich, Michael Ignatieff, John Treherne, and eerie death faces by photographer Rudolph Schäfer.

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