Juliet Jacques is one of the most electrifying short fiction writers working in the UK today; The Woman in the Portrait (Cipher) collects her published and unpublished fiction, work which Agata Pyzik has described as a ‘large canvas on which the pattern for a utopian socialist queer life might be inscribed’.

Jacques was joined in conversation by the writer and art critic Orit Gat.

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In her first novel The Last Sane Woman (Verso) poet Hannah Regel investigates the pains and pleasures of artistic practice carried out against the odds. While researching in a small archive dedicated to women’s art young graduate Nicola Long happens upon one half of a correspondence, conducted half a century before, written by a recently graduated ceramicist to a friend. As Nicola reads on she becomes obsessed with the parallels between her own life and that of the woman she encounters in the letters.

Regel was joined in conversation by LRB contributor and art critic Emily LaBarge.

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In her latest semi-autobiographical novel Playboy (Tuskar Rock, translated by Holly James), leading French writer Constance Debré describes how a woman, at the age of 43, abandons her apartment, her marriage and her successful legal career to lead a new life as an out lesbian and a writer. In a series of short, sharp vignettes the narrator describes a series of meetings with lovers, with her father and with her son and ex-husband, exploding heteronormative assumptions about what it means to be queer in a straight world. Debré was joined in conversation about her work by writer and critic Alice Blackhurst.

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In her debut novel Scaffolding (Chatto) Lauren Elkin – ‘The Susan Sontag of her generation’, according to Deborah Levy – presents two couples occupying the same Paris apartment, five decades apart. Lauren Elkin’s previous works include Art Monsters, a landmark study of women artists, Flâneuse and a translation of Simone de Beauvoir’s The Inseparables. She was joined in conversation by writer and broadcaster Octavia Bright.

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Anne Serre’s latest novel to appear in English, brilliantly translated from the French by Mark Hutchinson, was written in the aftermath of the death of the author’s younger sister, and recounts the tortured relationship between an unnamed narrator and his close childhood friend Fanny, a young woman suffering from profound psychological distress. Hailed in Le Point as a 'masterpiece of simplicity, emotion and elegance’, A Leopard-Skin Hat (Lolli Editions) is a bewildering rollercoaster of hope and despair, calling into question the form of the novel itself.

Serre, Bordeaux-born author of 14 previous novels, was joined in conversation about her work with novelist and LRB contributor Lucie Elven.

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Born in Belgium in 1954 to conservative, Catholic parents, Lucy Sante migrated to New York in the 1960s, where she became associated with the Bohemian artistic milieu of the city. After producing several highly acclaimed works of history such as Low Life and The Other Paris and translating Félix Fénéon’s feuilletons for NYRB as Novels in Three Lines, she announced in 2021 that she was transitioning: ‘Yes, I’ve known since at least age 11 but probably earlier and yes, I suppressed and denied it for decades’, she wrote at the time. In I Heard Her Call My Name (Hutchinson Heinemann), ‘a generous, fearlessly revealing book’ (Samantha Hunt), she describes with great grace, wit and humility her decision to begin living the life she knew was truly hers.

Sante is in conversation about her memoir with writer and filmmaker Juliet Jacques.

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