Pod is a distinctive novel in that it takes as its focus the lives of a series of marine creatures, notably dolphins. Its primary focus is on Ea, a spinner / ‘Longi’ dolphin who becomes detached from her peaceful and ‘civilised’ pod and finds herself among a boorish, violent pod of bottlenose dolphins, known in the book as Tersiops. Along the way we meet an array of other creatures, all with their own characteristics, including a wise old whale, a gender-switching Wrasse, giant clams and a fugu or two. Memorably, there’s also the captive bottlenose dolphin Google, who has been enslaved by humans (or ‘Anthrops’ in the novel’s parlance) for horrifying military purposes.

Trespasses tells the story of Cushla Lavery, a 24-year-old primary school teacher living on the outskirts of Belfast in 1975. She works occasional shifts in her family’s pub, managed by her brother and often stepping in for her alcoholic mother Gina. The violence and terror of Troubles-era Northern Ireland is a constant backdrop, and forms the basis of her young pupils’ life experience and their everyday vocabulary. Cushla’s town is relatively mixed compared to some more religiously segregated areas, and while her family are Catholic, their bar is frequently by a friendly mix of Catholic and Protestant drinkers, who by and large rub along well together. It’s at the bar that she meets the much older Protestant barrister Michael Agnew, with whom she begins a secret affair. In parallel, she begins to provide additional care to one of her young pupils, Davy McKeown, whose father has been maimed in an attack. Those two dominant strands of her life eventually intertwine with catastrophic consequences.

Black Butterflies focuses on the early part of the Bosnian War (1992-1995), a conflict between national factions that was a significant phase in the demise of the Former Yugoslavia following the fall of Communism in Eastern Europe. It is centred on Zora, a Bosnian Serb landscape painter and lecturer who lives with her husband Franjo in Sarajevo at the beginning of the war, and remains behind as the devastating Siege of Sarajevo commences, while Franjo takes her mother to the English countryside, where Zora’s daughter lives with her English husband and their child.

Demon Copperhead is an epic retelling of Charles Dickens’ David Copperfield, transplanted to the recent history of the USA, and specifically Appalachia. It’s told through the eyes of its title character (real name Damon Fields) who we first meet as a child born into poverty, looked after by his addict mother in :Lee County, Virginia. Its plot closely follows that of its source material, particularly in the early stages where Demon first struggles with an abusive stepfather and is then orphaned, becoming thrown into a cycle of disastrous foster homes that wear him down to the point where it seems he can go no lower.

Children of Paradise (named after Marcel Carné’s 1945 French film) tells the story of Holly, a young woman just arrived in an unnamed city, who takes a job at its oldest cinema, The Paradise. The cinema is clearly a relic of a bygone age, staffed by a memorable motley crew of misfit cinephiles, barely existing on pitiful wages and whatever their customers leave behind underneath their seats (money, valuables, unidentifiable narcotics) in its one screen. Holly is a relative novice to the world of the cinema, and initially an outsider. She soon becomes accepted by her fellow employees, and begins to live their life of seemingly 24/7 film viewings, subsisting on pilfered booze, popcorn, dubious nachos and those even more dubious abandoned drugs. She begins to have regular encounters with a fellow employee, Paolo, though later discovers that this was merely par for the course - everyone is sleeping with everyone else at the Paradise.

I’m a Fan is told through the eyes of an unnamed female narrator, aged around thirty and living in South East London. It’s a thoroughly contemporary novel, with its central protagonist living much of her life mediated via the lens of social media. It mainly details her relationships with two further unnamed characters: “The Man I Want To Be With”, a powerful older male celebrity with whom she falls into an occasional sexual relationship, very much on his terms and fitting around his marriage, career and multiple other infidelities, notably with “The Woman I Am Obsessed With”, a wealthy British social media influencer now living in the States.

The Marriage Portrait is a heavily fictionalised version of the short life of Lucrezia de' Medici, a sixteenth century member of the renowned aristocratic House of Medici in Italy. As the novel's introductory note explains, she was betrothed to Alfonso II, Duke of Ferrara at very young age, and died fairly soon after their marriage, with persistant (though unproven) rumours alleging that she was poisoned. O'Farrell's interest in the subject was spurred on by seeing a surviving portrait of Lucrezia, attributed to Bronzino, and Robert Browning's poem My Last Duchess, which covers the same subject matter.

Homesick is a childhood memoir / coming of age story of a girl called Amy, who is seemingly a reasonably direct proxy for Croft herself. Central to the story is her relationship with her younger sister Zoe The two are initially inseparable, with a unique bond that they supplement with the creation of their own unique symbol-based language. When Zoe develops a life-changing illness, Amy becomes wracked with guilt, which only seems to expand when she moves away to college at just fifteen, accepted on the basis of her prodigious grasp of Russian. Along the way, there are also explorations of young love, as both girls become obsessed by their language tutor; grief, as they deal with an unexpected suicide; and of course language itself.

Fire Rush is focused on Yamaye, a young woman of Jamaican heritage, living on the Tombstone Estate in suburban London in the late 1970s. Her mother is long gone, though remains a spectral presence in her life, and her father, while physically present, is cold and distant. She escapes into an underground culture of Caribbean music, centring on a local club called the Crypt, which is of course quite literally underground. She parties with her friends Asase and Rumer (the latter an Irish immigrant) and takes on the male-dominated club culture by developing her own knowledge of music and fierce line in lyrics which she begins to unleash at the Crypt. She meets a sensitive and romantic man, Moose, at the club, and the two fall in love and dream of escape to the Jamaican countryside

Glory is a satirical allegory of the circumstances surrounding the end of Robert Mugabe’s decades of rule in Zimbabwe in 2017, and his replacement by his former Vice President Emmerson Mnangagwa. It uses a cast of animals in place of humans, enabling it to blend direct retelling of history with fantastical satire that becomes a broader commentary on dictatorships, tyrannical rulers, and the state of the modern world in general