Author:Christopher Isherwood

'A deliberate historical parable. Prater Violet resembles episodes in Goodbye to Berlin and keeps up the same high level of excellence' - Edmund Wilson
An impatient phone call from the temperamental Austrian director, Friedrich Bergmann, introduces a young Christopher Isherwood to the film industry. Isherwood's job is to rescue the script of an idiotic love story set in nineteenth-century Vienna, a film called Prater Violet. In the real Vienna of 1934 the Austrian Right crushes a socialist uprising. Bergmann is distraught and his prophecy of the coming war goes unheeded. As tensions on set grow, studio intrigues and competing egos threaten to derail the whole project.
That young man holds the future of the English novel in his hands
—— Somerset MaughamIsherwood’s prose fizzes and bubbles lightly like an alka-seltzer in water before sinking like a brick in the pit of your stomach. It sits with you and stays with you.
—— Dust for Prints.comFrom the dusty fields of Zimbabwe to the refugee camps of South Africa, this is a heartbreaking, unputdownable tale of prejudice, resilience and brotherly love.
—— Fiona Noble , The BooksellerGripping, suspenseful and deeply compassionate
—— Kirkus ReviewThis is a moving and important story about the brutality that takes place when dictators rule and hatred mounts. But it is ultimately uplifting when, united by football, a group of South African refugees reach the Street Soccer World Cup final.
—— Vanessa Lewis , BooksellerWonderful. A must-read for anyone who loves international YA fiction . . . very brave
—— GoodreadsGut-wrenching . . . plenty of material to captivate readers: fast-paced soccer matches every bit as tough as the players . . . heartbreaking twists of fate, that will endure in readers' minds
—— Publishers WeeklyI found this story incredibly troubling and moving; Deo and Innocent will stay with you.
—— Clare Poole , The BooksellerA tough and heart-rending story, but one that needs telling
—— BooktrustVery stylish, observant and oh so spiky, this is an incredible, often uncomfortable novel that you just can't put down... Modern, vibrant, funny and dark 5/5
—— thebookbag.comLee's the real deal - a British writer on the cusp of greatness... A brilliant powerful dissection of modern Britain.
—— Henry Sutton , Daily Mirroran excellent novel… A harrowing look at the sleazy underbelly of the corporate world that never pulls its punches.
—— Alex Preston , FHMA tense and disturbing novel.
—— Richard Susskind , The TimesA quite superb piece of work.
—— Huffington PostSparky... modern... brilliant
—— Claudia Winkleman , BBC Radio 2 Arts Show[A] discomforting and acute tragicomedy ... The bleaker and darker his book becomes, the better it gets, building to a shocking and expertly executed conclusion. Tipped for the top on publication of his first novel, Lee here confirms his talent
—— Daily MailFor all painful events it covers, this is a joyful book. Lee educates us in the beautiful mess of humanity surrounding this tragic event. Joy is one of the best new novels this year.
—— We Love This BookA black comedy of exuberance and bite … original, and brilliantly executed; the characters’ voices … ventriloquised with flair … This is the wittiest, most addictive piece of literary yuppie-bashing since Martin Amis’s Money. Lee is a writer to keep an eye on.
—— IndependentA major new voice in British fiction.
—— GuardianA brilliant book... Jonathan Lee is one of those rare, agile writers who can take your breath away.
—— Catherine O’Flynn, author of What Was Lost[Joy] displays a real flair for narrative and characterisation…Highly accomplished…The closest comparison that can be made is with Joshua Ferris’s Then We Came to the End, which shares a similarly bravura command of narrative voice…Exquisitely and surprisingly written…it proves that Lee is a significant talent and that his future work should be well worth awaiting.
—— ObserverLee’s writing is witty and engaging, containing something of the wearied disgust of Raymond Chandler’s prose…These four voices confiding in the counsellor are entertainingly distinct…The novel’s outstanding achievement, however, is the central, spiralling narrative that Jonathan Lee threads among these personal accounts: the intimate story of how Joy came to fall, a forensic portrayal of despair that shows Lee to be an exceptional, brave prose stylist. The dark revelations in the book’s final pages are disturbing while not gratuitous, but Lee also allows some credible room for optimism among these cluttered lives. Funny and humane, Joy is an enormously impressive piece of storytelling
—— Tom Williams , Literary ReviewLee's the real deal - a British writer on the cusp of greatness. This novel follows the aftermath of lawyer Joy Stephen's apparent suicide. The corporate and personal explode in a brilliant powerful dissection of modern Britain.
—— Henry Sutton, The MirrorJonathan Lee’s second novel, Joy charts the final day in the life of a high-flying young lawyer. Lee writes with extraordinary vividness, with prose so sharply defined it takes your breath away.
—— ObserverWith its supple prose, ingenious structure, wit and slow-burn sympathy, Joy is a sly miracle of a novel.
—— A.D. Miller[One] of Britain’s most exciting writers… I loved how Jonathan Lee’s Joy gradually unravels through different characters…The ending of Joy is brilliantly shocking. I finished it three weeks ago and it’s still playing on my mind… Something about Joy’s slow and brooding story really affected me…Lee manages to make every voice distinct…It is Joy’s complexity which keeps you reading…[A] wonderful book.
—— StylistLee constructs office scenes easily, weaving together numerous characters and dialogues with flair…the writing crackles.
—— Independent on Sunday