Gregory Norminton

Known for both its industrial roots and arboreal abundance, Sheffield has always been a city of two halves. From elegant parks and gardens to brutalist high-rise estates and the hinterland nightclubs of 'Centertainment', it is a city caught between the forges of the past and the melting pot of the present. Bringing together new short stories from some of the city's most celebrated writers, The Book of Sheffield traces the contours of this complex landscape from both sides of the economic dividing line. From the aspirations of young creatives, ultimately driven to leave, to the more immediate demands of refugees, scrap metal collectors, and student radicals, these stories offer ten different look-out points from which to gaze down on the ever-changing face of the 'Steel City'.

Three journeys. Three thousand years. One destination. The Devil's Highway is a thrilling, epic and timely tale of love, loss, fanaticism, heroism and sacrifice. `Brilliant ... a powerful meditation on the damages - and the good - we have wrought, and will wreak, on the living world' Robert Macfarlane, Book of the Year His fingers fastened about Her stone. He brought it to the light and held it to his nose. There was lightning locked inside. He rolled the stone in his palm to give it the heat of his body. She had come to him, catching his eye where she lay among dull flints. She alone among the stones had spoken. An ancient British boy, discovering a terrorist plot, must choose between his brother and his tribe. In the twenty-first century, two men - one damaged by war, another by divorce - clash over their differing claims on the land, and a young girl is caught between them. In the distant future, a gang of feral children struggles to reach safety in a burning world. A Roman road, an Iron Age hill fort, a hand-carved flint, and a cycle of violence that must be broken. As gripping as it is dazzling, The Devil's Highway is a bold and intimate novel that spans centuries and challenges our dearest assumptions about what it means to be civilised.

Spanning centuries and continents, the stories in this collection amount to a tour de force of literary worldbuilding. From deeply insecure time travellers to medieval mystics and futuristic body modification cults, Norminton’s characters find themselves torn between conflicting impulses – temptation and fortitude, hubris and shame, longing and regret. By turns sad, strange and darkly comic, The Ghost Who Bled reveals a master storyteller of incredible range.

Gregory Norminton transforms the aphorism into something more accessible and personal. Ultimately he uses aphorisms to question everything - including the aphorism itself: 'Incessantly we ask the meaning of life to protect us from hearing the perfectly obvious answer.' In The Lost Art of Losing, the author analyses the process and the hubris of literary invention, and is brutal in revealing its limitations: 'No revelation sparkles brighter than the one scribbled down from sleep, nor looks duller when revisited by the light of day. What we dream is the image of meaning. The object eludes.' These aphorisms explore the complex relationship between the self and wider society: 'To fear the ill-opinion of others is grossly to overestimate the space we take up in their imagination.' Norminton understands that an aphorism relies on the elegance of its thought: 'Some birds beat the air as if it were a foe meaning to drag them down. Others seem only to flap their wings in order to keep us from getting suspicious.'