It's a time-honoured tradition that the best crime writers begin to chafe at the constraints of their area of the genre and feel a need to stretch their literary muscles. With The Grave Tattoo, the estimable Val McDermid demonstrates that she, too, has felt the need of a change from her contemporary novels of crime and detection, and here takes on a truly ambitious panoply. Not that McDermid has been afraid to tackle unconventional subjects before-it's just that the scale of this novel is even more impressive. A corpse is discovered on a hill in the Lake District, adorned with bizarre tattoos. Wordsworth expert Jane Gresham finds herself distracted from her studies of the great Lakeland poet when another mystery surfaces, involving the Pitcairn Massacre and the events of the mutiny on the Bounty. Is it possible that Fletcher Christian, who led the rebellion against Captain Bligh, faked his own death and clandestinely returned to England? Jane makes a connection between the tattooed body and the tattoos on sailors who served in the South Seas-is this the body of Fletcher Christian? And Jane has another problem on her hands-a young girl who she has tried to help finds herself a murder suspect, and tracks her down to the Lakes. And as Jane closes in on a Wordsworth manuscript that may be a direct transcription of Fletcher Christian's confession, she finds herself with someone else on her trail-an ex-lover with similar designs on the precious document. As all this might suggest, McDermid has set herself a truly daunting task here, with a canvas so crammed with incident, colour and character. And when the reader learns that the central narrative is counterpointed with sections from the Fletcher Christian document, it's clear that we are a long way away from the medical and criminological puzzles of Wire in the Blood. It is to McDermid's credit that she draws so many strands together with such assurance. [+]

Wilbur Smith (a name synonymous with the massive blockbuster thriller) has recaptured the verve and impact of his earlier work in Warlock. This Egyptian epic thriller follows on from the equally accomplished River God and The Seventh Scroll and re-establishes Smith at the top echelons of thriller writing. The customary continent-spanning canvas is here, with a key new element in an adroitly handled supernatural aspect that gives the sequence the feel of fantasy whilst still retaining the plausibility that was always Smith's strongest asset. The reader is plunged into a vividly realised evocation of life in ancient Egypt but one presented with insights into the various characters that infuse a very contemporary feel. In the secluded deserts of North Africa, Taita has spent the years since the death of his adored Queen Lostris studying to become a Warlock, steeped in the arcane arts of the ancient Gods and a master practitioner of magic. Responding to an occult summons, Taita abandons the desert and returns to civilisation, only to find himself at the centre of a massive conflagration in which dark and sinister forces are undermining the throne of Egypt and attempting to destroy the young prince Nefer. Soon, his hard-won skills are tested to the limit. As in the previous books in the sequence, Smith knows that a strong and passionate agenda on the part of his protagonists will allow the reader to identify with them, despite the gap of centuries. Here, it is family ties: Taita is defending the young prince who is the grandson of his lost Queen, and we are quickly engaged in a narrative that rarely flags over its considerable length. The action set pieces are as impressive as one would expect: The instant he was within range the Cobra struck again, but Nefer caught the blow on the thick leather folds of the bag. [+]

The Horse and his Boy is a stirring and dramatic fantasy story that finds a young boy named Shasta on the run from his homeland with the talking horse, Bree. When the pair discover a deadly plot by the Calormen people to conquer the land of Narnia, the race is on to warn the inhabitants of the impending danger and to rescue them all from certain death. None of the sheer magic of the Horse and His Boy has faded since it first delighted a generation of children in the 1950s, and anyone who has ever savoured the peculiar delights of Narnia will love this special edition, published in celebration of the centenary of CS Lewis. With its stylish, larger format featuring fine, hand-coloured illustrations by Pauline Baynes, all the magic of the originals can be found in this delectable tale which will continue to enchant hosts of new readers long into the future. -Susan Harrison.

Tragedy is a word too often used. Nevertheless, in Star of the Sea Joseph O'Connor manages to achieve a real sense of the tragic, as personal dramas of the most distressing kind play themselves out against the background of the Irish potato famine and the almost equal nightmare of the mass emigration that it caused. As passengers die of starvation and disease in steerage, a drama of adultery, inadvertent incest and inherited disease plays itself out in first class. O'Connor raises, and does not attempt definitively to answer, real questions about responsibility and choice. Bankrupt aristocrat Meredith is emigrating, pursued by the hatred of his tenants and the memory of his mad-hero father. His children's nurse, Mary, has memories of lost love to torment her, as well as of the husband and child who died of hunger. And the ballad singer Mulvey has both his monstrous past and the certain promise that he will be tortured to death by the Liable Men should he not kill Meredith. This is a kaleidoscopic novel, whose events are seen in many idioms, from many points of view-it is a rich novel that knows that there are limits to the sense that can be made of history. -Roz Kaveney.