Kit doesn't know who his mother is. What he does know, however, is that his father, Guy, is dying of cancer. Feeling his death is imminent, Guy gathers around him his oldest friends — or at least the friends with the most to lose by his death. Paul — the rising star in the Labour party who dreads the day a tape they all made at university might come to light; Alison and Robbie, corporate bunnies whose relationship is daily more fractious; Pris and Haze, once an item, now estranged, and finally Hol — friend, mentor, former lover and the only one who seemed to care. But what will happen to Kit when Guy is gone? And why isn't Kit's mother in the picture? As the friends reunite for Guy's last days, old jealousies, affairs and lies come to light as Kit watches on.

Stewart Gilmour is back in Stonemouth. After five years in exile his presence is required at the funeral of patriarch Joe Murston, and even though the last time Stu saw the Murstons he was running for his life, staying away might be even more dangerous than turning up. An estuary town north of Aberdeen, Stonemouth, with it's five mile beach, can be beautiful on a sunny day. On a bleak one it can seem to offer little more than seafog, gangsters, cheap drugs and a suspension bridge irresistible to suicides. And although there's supposed to be a temporary truce between Stewart and the town's biggest crime family, it's soon clear that only Stewart is taking this promise of peace seriously. Before long Stu steps back into the minefield of his past to confront his guilt and all that it has lost him, uncovering ever darker stories. Soon his homecoming takes a more lethal turn than even he had anticipated. Tough, funny, fast-paced and touching, Stonemouth cracks open adolescence, love, brotherhood and vengeance in a rite of passage novel like no other.

Kit doesn't know who his mother is. What he does know, however, is that his father, Guy, is dying of cancer. Feeling his death is imminent, Guy gathers around him his oldest friends — or at least the friends with the most to lose by his death. Paul — the rising star in the Labour party who dreads the day a tape they all made at university might come to light; Alison and Robbie, corporate bunnies whose relationship is daily more fractious; Pris and Haze, once an item, now estranged, and finally Hol — friend, mentor, former lover and the only one who seemed to care. But what will happen to Kit when Guy is gone? And why isn't Kit's mother in the picture? As the friends reunite for Guy's last days, old jealousies, affairs and lies come to light as Kit watches on.

The man who wakes up in the extraordinary world of a bridge has amnesia, and his doctor doesn't seem to want to cure him. Does it matter? Exploring the bridge occupies most of his days. But at night there are his dreams. Dreams in which desperate men drive sealed carriages across barren mountains to a bizarre rendezvous; an illiterate barbarian storms an enchanted tower under a stream of verbal abuse; and broken men walk forever over bridges without end, taunted by visions of a doomed sexuality. Lying in bed unconscious after an accident wouldn't be much fun, you'd think. Oh yes? It depends who and what you've left behind. Which is the stranger reality, day or night? Frequently hilarious and consistently disturbing, THE BRIDGE is a novel of outrageous contrasts, constructed chaos and elegant absurdities.

Kate Telman is a senior executive officer in The Business, a powerful and massively discreet transglobal organisation. Financially transparent, internally democratic and disavowing conventional familial inheritance, the character of The Business seems, even to Kate, to be vague to the point of invisibility. It possesses, allegedly, a book of Leonardo cartoons, several sets of Crown Jewels and wants to buy its own State in order to acquire a seat at the United Nations. Kate's job is to keep abreast of current technological developments and her global reach encompasses Silicon Valley, a ranch in Nebraska, the firm's secretive Swiss headquarters, and a remote Himalayan principality. In the course of her journey Kate must peel away layers of emotional insulation and the assumptions of a lifetime. She must learn to keep her world at arm's length. To take control, she has to do The Business.

Hisako Onoda, world famous cellist, refuses to fly. And so she travels to Europe as a passenger on a tanker bound through the Panama Canal. But Panama is a country whose politics are as volatile as the local freedom fighters. When Hisako's ship is captured, it is not long before the atmosphere is as flammable as an oxy-acetylene torch, and the tension as sharp as the spike on her cello... CANAL DREAMS is a novel of deceptive simplicity and dark, original power: stark psychological insights mesh with vividly realised scenarios in an ominous projection of global realpolitik. The result is yet another major landmark in the quite remarkable career of an outstanding modern novelist.

COMPLICITY n. 1. the fact of being an accomplice, esp. in a criminal act. A few spliffs, a spot of mild S&M, phone through the copy for tomorrow's front page, catch up with the latest from your mystery source — could be big, could be very big — in fact, just a regular day at the office for free-wheeling, substance-abusing. Cameron Colley, a fully paid-up Gonzo hack on an Edinburgh newspaper. The source is pretty thin, but Cameron senses a scoop and checks out a series of bizarre deaths from a few years ago — only to find that the police are checking out a series of bizarre deaths that are happening right now. And Cameron just might know more about it than he'd care to admit... Involvement; connection; liability — Complicity is a stunting exploration of the morality of greed, corruption and violence, venturing fearlessly into the darker recesses of human purpose.

From its bravura opening onwards, THE CROW ROAD is justly regarded as an outstanding contemporary novel. 'It was the day my grandmother exploded. I sat in the crematorium, listening to my Uncle Hamish quietly snoring in harmony to Bach's Mass in B Minor, and I reflected that it always seemed to be death that drew me back to Gallanach'. Prentice McHoan has returned to the bosom of his complex but enduring Scottish family. Full of questions about the McHoan past, present and future, he is also deeply preoccupied: mainly with death, sex, drink, God and illegal substances...

Iain Banks' daring new novel opens in a loft apartment in the East End, in a former factory due to be knocked down in a few days. Ken Nott is a devoutly contrarian vaguely left wing radio shock-jock living in London. After a wedding breakfast people start dropping fruits from a balcony on to a deserted carpark ten storeys below, then they start dropping other things; an old TV that doesn't work, a blown loudspeaker, beanbags, other unwanted furniture... Then they get carried away and start dropping things that are still working, while wrecking the rest of the apartment. But mobile phones start ringing and they're told to turn on a TV, because a plane has just crashed into the World Trade Centre... At ease with the volatility of modernity, Iain Banks is also our most accomplished literary writer of narrative-driven adventure stories that never ignore the injustices and moral conundrums of the real world. His new novel, displays his trademark dark wit, buoyancy and momentum.

Daniel Weir used to be a famous — not to say infamous — rock star. Maybe still is. At thirty-one he has been both a brilliant failure and a dull success. He's made a lot of mistakes that have paid off and a lot of smart moves he'll regret forever (however long that turns out to be). Daniel Weir has gone from rags to riches and back, and managed to hold onto them both, though not much else. His friends all seem to be dead, fed up with him or just disgusted — and who can blame them? And now Daniel Weir is all alone. As he contemplates his life, Daniel realises he only has two problems: the past and the future. He knows how bad the past has been. But the future — well, the future is something else.

Her eyes were black, wide as though with some sustained surprise, the skin from their outer corners to her small ears taut. Her lips were pale, and nearly too full for her small mouth, like something bled but bruised. He had never seen anyone or anything quite so beautiful in his life. Graham Park is in love. But Sara Fitch is an enigma to him, a creature of almost perverse mystery. Steven Grout is paranoid — and with justice. He knows that They are out to get him. They are. Quiss, insecure in his fabulous if ramshackle castle, is forced to play interminable impossible games. The solution to the oldest of all paradoxical riddles will release him. But he must find an answer before he knows the question. Park, Grout, Quiss — no trio could be further apart. But their separate courses are set for collision.

'Two years after I killed Blyth I murdered my young brother Paul, for quite different reasons than I'd disposed of Blyth, and then a year after that I did for my young cousin Esmerelda, more or less on a whim. That's my score to date. Three. I haven't killed anybody for years, and don't intend to ever again. It was just a stage I was going through'. Enter — if you can bear it — the extraordinary private world of Frank, just sixteen, and unconventional, to say the least.

A little knowledge can be a very dangerous thing... Innocent in the ways of the world, an ingenue when it comes to pop and fashion, the Elect of God of a small but committed Stirlingshire religious cult: Isis Whit is no ordinary teenager. When her cousin Morag — Guest of Honour at the Luskentyrian's four-yearly Festival of Love — disappears after renouncing her faith, Isis is marked out to venture among the Unsaved and bring the apostate back into the fold. But the road to Babylondon (as Sister Angela puts it) is a treacherous one, particularly when Isis discovers that Morag appears to have embraced the ways of the Unsaved with spectacular abandon... Truth and falsehood; kinship and betrayal; 'herbal' cigarettes and compact discs — Whit is an exploration of the techno-ridden barrenness of modern Britain from a unique perspective.

Imagine a world that is one of infinite parallel worlds, that hangs suspended between triumph and catastrophe, the dismantling of the Wall and the fall of the Twin Towers, in the shadow of suicide terrorism and global financial collapse. Presiding over this world is the Concern, an all-powerful organisation whose operatives possess extraordinary powers. There is Temudjin Oh, an unkillable assassin who journeys between the high passes of Nepal, a version of Victorian London and a wintry Venice; Adrian Cubbish, restlessly greedy City trader; and the Philosopher, a state-sponsored torturer who moves between the time zones with sinister ease. Transition is a high-definition, hyper-real apocalyptic fable for terrible times.

«Dark family secrets and a passionate love affair, full of his trademark warmth, humanity and ingenuity, this is Iain Banks` best novel since «The Crow Road».»

Meet Frank Cauldhame. Just sixteen, and unconventional to say the least: Two years after I killed Blyth I murdered my young brother Paul, for quite different and more fundamental reasons than I'd disposed of Blyth, and then a year after that I did for my young cousin Esmerelda, more or less on a whim. That's my score to date. Three. I haven't killed anybody for years, and don't intend to ever again. It was just a stage I was going through.