Nicola Barker’s H(A)PPY is a work of vaulting ambition. It is deathly serious but played out with the lightest of touches. She takes the vapid discourse of social media blather, with all its ‘likes’ and ‘favourites’, and extrapolates madly to make a language for an utterly believable future world, a world enslaved by the blandness of its technology. Line by line, the novel carefully builds its music and teases out its crazed riffs. It’s very funny but there are pockets of great eeriness, and of savagery even. It’s a novel-as-object, too, with a typography employed as visual code, but its design always has a narrative purpose. Only a writer of uncanny ability could bring this novel to such memorable, pulsing life. It’s very moving.

H(A)PPY is anything but conventional, subverting the traditions of sci-fi, typography and narrative … The coloured words are joined by a host of typographical flourishes, making the book a bravura piece of design … Barker is as gnomic, terrifying and glorious as ever.

Nicola Barker’s kaleidoscopic new novel is a socio-political futurama with a wildness and honesty all of its own … What wonders there are in Nicola Barker’s bewildering, fatiguing and deliciously stimulating new novel … Echoing and quoting literary styles and situations, disrupting the words on the page – via those coloured inks, blank pages, typographical games – in a manner that traces a line from Laurence Sterne to avant-gardists such as BS Johnson, Deborah Levy and Tom McCarthy … But H(a)ppy ventures far beyond a retread of narratological theory … Any description of H(a)ppy can only fail to do justice to its wildness and its honesty. It is a superb novel by a genuinely experimental and committed novelist. In Barker’s hand, narrative, however fragile, not only survives but thrives.

(Barker) specialises in formal eccentricity, thematic novelty, stylistic excess ... Her new book is her strangest yet, an avant-garde slice of dystopian science fiction that thumbs its nose...at the conventions of the genre ... It is a small miracle that this uncompromising anti-novel about the collapse of narrative absolutely works ... Barker is as innovative and idiosyncratic as ever.

No book Nicola Barker writes is remotely like a book by anyone else, which is one of the many reasons to celebrate her. Also, no two books by Nicola Barker are doing remotely the same thing, which is another. So you never quite know what you’re in for. And H(A)PPY, even by her own extravagant standards, is very strange indeed … Barker has always been a visionary writer – visionary in style, with past and present interpenetrating in dream and hallucination. But her interest in religious visions and theology here comes to the fore … As I say, Barker is not remotely like any other writer. With its typographical jiggering about (words really do change colour, and some pages have blocks of identical text or no text at all), and its favouring of symbols and ideas over characters, setting and story, it’s more like a poem or artwork than a novel. Still, it’s quite something. I’m just not sure what.

With polychromatic printing, creative typography and sheer inspiration, the post-apocalyptic novel has been turned on its head … In most fiction set in totalitarian states, the principal protagonist will gradually realise the monstrosity of the regime…Nicola Barker, one of our greatest contemporary novelists, with typical élan, turns this paradigm inside out … This must be the most beautifully designed book I have read since Mark Z Danielewski’s House of Leaves … As the novel progresses, Barker pulls off an astonishing piece of technique … She is the most unpredictable novelist I know.

The English novelist Nicola Barker began publishing in the mid-1990s, hit her stride almost immediately … Barker seems to find writing fiction as natural as breathing, and there’s a strong imaginative streak to almost everything she does … The Prospero role is here assumed by Barker herself, and the parallel is fairly close: creative to excess, more than capable of abusing her omnipotence, blurring the border between genius and dazzle.

A trailblazing sci-fi writer makes a bleak future seem fun ... Nicola Barker is the high priestess of weird ... H(A)PPY is the story of one woman's escape from a controlling matrix formed by a powerful artificial intelligence ... As Mira's journey of emancipation progresses, a full-on typographic melodrama explodes off the page ... It's confusing but fun. Barker, along with David Mitchell and Dave Eggers, is an important trailblazer for literary sci-if. H(A)PPY does not present a cheerful version of the future of humanity, but in her hands it is a hauntingly convincing one.

Lately, no destination on the map of fiction has welcomed so many visitors as the twin islands of utopia and dystopia. When she entered this populous domain, Nicola Barker – the rule-busting, genre-twisting maverick author of 11 previous novels – was never likely to deliver an orthodox post-catastrophe fable of lonely revolt against an all-powerful, all-knowing tyranny … As ever, Barker spins her ingredients into a wild, antic performance with a tuning – comic, satirical, mystical, downright weird – all her own … You might treat H(A)PPY as a creative uprising against the iron laws of dystopia itself … Beautifully designed pages … An occult musical theme drifts through her dystopian architecture … At times I was tempted to read H(A)PPY as a delirious allegory of the “tuning wars” among musicians … Barker layers the emerging tale of Mira’s disobedience with overtones that hum in the background … Not only the ideas but the very words on the page spiral, loop, morph and shatter. Barker’s expressive typography enacts the breakdowns, and breakthroughs, of Mira’s mutiny: not some avant-garde stunt, but the method of George Herbert’s “pattern poems”, or of Laurence Sterne’s Tristram Shandy … She succeeds in tuning the dystopian genre to a fresh, uncanny pitch.

H(A)PPY is Barker’s most audacious and important novel since Darkmans … A clever exploration of the compulsive and destructive power of narrative … Language, grammar and typography spiral out of control until they reach the crescendo of a typographical cathedral composed of a “billion tiny calculations” … Barker has always been a wildly experimental writer and never more so than now … [H(A)PPY] demonstrates her visceral sensitivity to words.

Each of Nicola Barker’s books is a world unto itself; with H(A)PPY, winner of the Goldsmiths prize, she pushed the novel towards objet d’art, using colour and madcap typography to conjure a visionary dystopia of surveillance and control in which creativity and individuality refuse to be constrained.

Nicola Barker’s extravagant, rambling, joyous and more-than-slightly insane novels always present a certain challenge to the reader … No one else writes like Barker does…a reason to cherish her extraordinary work … [H(A)PPY is] an info-shamanic freakout. It’s a work of print art … You don’t read this novel; you let it pour over you … Once again: no one else writes like Barker, and no one else could have written this book.

Exquisite and unpredictable prose … fluidity is without a doubt the most prominent feature of this novel, which dips into poetry as abruptly as it springs up a diagram.

[A] timely, invigorating novel.

As a physical object this book itself is a work of art; a mind-bending adventure in typography and consciousness to be looked at as much as read.

As unconventional as its narrator … Mira A is out of kilter, and her rebellious thoughts and emotions cascade across the pages of this visually starting, hugely original tale in a burst of colour as she desperately struggles for freedom and independence over authoritarian control.

Profoundly different from anything I’ve read previously … I will keep coming back to the story for months to come.

Mira, the heroine of Nicola Barker’s hugely original book, strives to step outside the confines of the story that she has been told to keep, in a desperate struggle for freedom. A startling read.

Science fiction-meets-satire piece that mediates on the true meaning of life ... a must-read.

[A] visually starting, hugely original tale.

An essential story to read….Barker, whose previous novels have been longlisted for the Man Booker Prize, continues to dazzle with H(A)PPY.

Hag-Seed is funny and poignant, and offers much to amuse and delight.

Great fun, full of wit and invention and incident

Inspired and witty

Genuinely moving ... The tender way in which Atwood handles [Felix's] story really gives Hag-Seed its power

Atwood on mischievous form

Witty and clever

Stella Loves: Taking on a re-write of Shakespeare's The Tempest is a tall order. But Margaret Atwood is well up to the task with her new novel Hag-Seed

Blows layers of dust off the play while asking clever questions about the relationship between power, delusion and creativity

A delight... not only an unputdownable tale of revenge, it is also a masterclass in how to teach Shakespeare to those who think they won't like it

Atwood’s canny remix offers multiple pleasures: seeing the inmates’ takes on their characters, watching Felix make use of the limited resources the prison affords (legal and less so), and marveling at the ways she changes, updates, and parallels the play’s magic, grief, vengeance, and showmanship

So inventive, heartfelt, and swiftly rendered... Highly recommended.

Fellow fans, I am thrilled to report: Atwood is just as brilliant as ever. I would suggest scheduling some cozy armchair time with her book in the weeks to come

The new novels promise an intriguing opportunity to revisit the tales we know so well and see them in a new light.

Atwood joins the roll call of literary stars retelling Shakespeare's plays... masterful... My favourite retelling so far

An ingenious construction.

She merely understands that fiction can be a powerful weapon of
persuasion… A woman with inexhaustible talents

[A] triumphant reworking of The Tempest.

Atwood’s take on The Tempest is intense and extravagant… Atwood beautifully reimagine Shakespeare’s The Tempest… She writes with gusto and brilliance.

Hag-Seed enchants, endears and empowers. Seeing The Tempest through the cast of characters Atwood creates and the author's own overarching narrative gives the original play new life.

Atwood beautifully reimagines Shakespeare's The Tempest as Felix's personal and professional stories so aptly mirror the plot of the mystical and magical play. She writes with gusto and brilliance, making her the dream author to be part of the Shakespeare series.

The most successful 'retelling' of Shakespeare yet in Hogarth's anniversary series [...] us a thrilling revenge drama ... [It] rattles along with Atwood nimbly reworking the classic

[Atwood's] unique take on vengeance, enchantment and second chances is sure to delight old and new fans alike

A novel of great humour and creativity

A fitting tribute to a play built on magic and illusion. It’s a celebration of theatre, yes, but just as much a celebration of learning and teaching. Atwood’s spellbinding adaptation is a testament to Shakespeare’s lasting relevance.

Atwood’s novel reflects the play’s multifaceted nature… A fun and imaginative novel.

Atwood unrolls a dazzling remake of The Tempest… Ebullient comedy and keen perceptiveness combine in a bravura fictional tribute to Shakespeare.

A passionately original, heady, often musical modern remix.

I’d love to wake up on Christmas morning with Margaret Atwood’s Hag-Seed nestled in my stocking.

[A] highlight.

[Hag-Seed is] particularly clever and witty, with layer upon layer of correspondences with the original text waiting to be teased out by readers.

What’s impressive here is not just 77-year-old Atwood’s undimmed brilliance but the sheer effort she puts into the project… An absorbing read but also an erudite examination and explanation of the play’s themes. Not to be missed.

[It] would make an amazing Christmas present.

Atwood brings forth a cast of characters that comfortably inhabit their own world but often burst out of the page in song and rhyme. It is a playful piece of writing, tempered by grief and revenge and the bitterness that can consume, but ultimately this is a book full of the joys of redemption and hope. Wonderful.

Cleverly done… Very complex, like a set of Russian dolls. But it works amazingly well.

Delightfully crazy.

Rich and inventive… The play-within-a-play tripe is audaciously Shakespearean, and so is Atwood’s free-ranging imagination and witty way with language.

Masterful… Clever, funny and tender

She casts The Tempest adrift in a prison and makes a magisterial case for the timeless, classless relevance of Shakespeare’s plays.

I am in awe of Atwood

A real must read