An evocative debut charts the journey of a group of travellers as they seek refuge in the wake of an unstoppable pandemic

Gethan Dick’s dystopia begins at Elephant and Castle in London. The narrator, a young woman who considers herself unexceptional, recalls a break in a water main at the big roundabout, a rupture that revealed “white quartz pebbles being washed clean, rattling as they went like in any stream bed”. The surfaces we have built on the face of the Earth to sustain us are just that, only surfaces, easily cracked open to show what’s roiling beneath.

And this is how it is at the end of the world in Water in the Desert Fire in the Night. The setup for this slender, evocative debut will be eerily familiar to all its readers, albeit with the disaster quotient kicked up a notch. A pandemic arises and begins its cull, only this one is unstoppable: it results in whole streets full of the dead. Those who survive – and we don’t know why they do – must stick together, and so this is a tale of unlikely alliances between a group of travellers determined to reach a refuge in the south of France, a place called Digne-les-Bains.

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Shot almost entirely inside their car, Pike and Rhys play a splintering couple trying to save their terrified teenager

How encouraging that whatever state our film industry is considered to be in, it can still find space for a crackingly good script from a supersmart, disciplined first-timer who’s clearly been working on it for a while, planing down the edges and trimming away the fat through successive drafts. Hallow Road is the kind of property that often emerges after a spell on Hollywood’s “Black List” of much admired but as yet unproduced screenplays. It is a gripping, real-time suspense thriller with a twist of the macabre, a film about family guilt and the return of the repressed, written by National Film and Television School graduate William Gillies, a scary-movie enthusiast who here makes his feature script debut. British-Iranian film-maker Babak Anvari directs and Matthew Rhys and Rosamund Pike give forthright, excellent performances as the two leads.

Rhys plays Frank, a stressed executive married to Mads (Pike), a paramedic. They have one child, Alice, a troubled and vulnerable student played by Megan McDonnell who only appears in the film as a terrified voice on the end of the phone – that being a jarring contrast to her perky leave-a-message voice which her anguished parents keep reaching. Her smiling face which comes up on their phone is also, we can assume, a jarring contrast to her actual face.

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As Mrs Dalloway turns 100, here’s a guide to the greatest hits of one of the most celebrated British novelists of all time

As her much-loved novel Mrs Dalloway turns 100, now is a great time to celebrate Virginia Woolf. The 20th-century modernist author and pioneer of stream-of-consciousness narration is one of the most celebrated British novelists of all time. For those looking to become more familiar with her work, author and critic Francesca Wade has put together a guide to her greatest hits.

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Alec McKinlay adds that reunion tour, set to begin on 4 July in Cardiff, is ‘very much the last time around’

Oasis’s co-manager has said the band have no plans for new music, and that their 2025 reunion tour will be their last.

Speaking to Music Week , Alec McKinlay said: “This is very much the last time around, as Noel’s made clear in the press. It’s a chance for fans who haven’t seen the band to see them, or at least for some of them to … there’s no plan for any new music.”

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Female boxers, revolutionary icons and fascinating early works by Martin Parr all feature in the 10th edition of the celebrated photography festival

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Documentary follows the 1988 anti-audism revolt in the US after the world’s first deaf university appointed a hearing person to head it

‘It’s awfully difficult to talk above this loud noise,” says the chair of the board of trustees at a liberal arts university. It’s the late 1980s, protesting students have shut down the campus and now, midway through a tense meeting, someone has set off the fire alarm. But here’s the thing, Gallaudet University in Washington DC is the world’s first deaf university. The students can have a conversation just fine with the alarms blaring – in sign language. But trustee chair Jane Bassett Spilman does not sign. In fact, she appears to be completely ignorant about deaf culture – and, dressed like a Margaret Thatcher lookalike, all handbags and helmet hair, she is the easy-to-loathe villain of this fascinating documentary.

Co-directed by actor and deaf activist Nyle DiMarco with Davis Guggenheim, this is the story of an eight-day student protest at Gallaudet in 1988. Trouble started when the board, led by Spilman, appointed a hearing person as the university’s president, over two deaf candidates. The film’s heroes are the four students who led the uprising: Bridgetta Bourne-Firl, Jerry Covell, Greg Hlibok and Tim Rarus; they entertainingly interviewed here. With a blend of archive footage and re-enactments the film-makers skilfully recreate the urgency, passion and energy of their protest.

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The food writer digs into her own and other’s cupboards to uncover the surprising emotional punch of kitchenalia

Two months after her husband left in 2020, Bee Wilson was startled by the clatter of a baking tin falling on to the kitchen floor. In one way this doesn’t seem particularly remarkable: Wilson is an esteemed food writer who presumably has a surplus of kitchen utensils crammed into her bulging cupboards. This tin, though, was different. For one thing it was heart-shaped. For another, Wilson had used it to bake her wedding cake 23 years earlier, taking care to leave out the cherries because her husband-to-be loathed them. (This now strikes her as ominous: “Maybe a man who was so fussy about cherries was not the man for me.”) Lurking at the back of Wilson’s mind had been the thought that she would soon be using the heart-shaped tin to bake a cake for their silver wedding anniversary. But now here it was, lying dejectedly at her feet and, she couldn’t help noticing, spotted with rust.

In this delightful book, part memoir, part anthropological investigation, food writer Wilson explores the way that kitchen objects have the power to move, soothe and even reproach us. There’s the plate you feel compelled to eat off because it makes everything taste nicer, or that bowl you keep but can’t bear to use because it reminds you too much of the person who gave it to you. In the maelstrom of her new living conditions, Wilson worries that she is overdoing the anthropomorphism: there is a big cast-iron knife that she can’t bear to pick up because it is the one her ex-husband always used and “to touch its smooth handle would have felt like holding his hand”.

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A ghost story – unusual subject matter for the late author of political thrillers – features alongside little-known Ian Fleming story

A short ghost story by Graham Greene described by analysts as “an eerie gem” was published for the first time on Wednesday, a rare glimpse into the largely uncelebrated darker side of one of the giants of 20th-century literature.

Reading at Night appears in the 75th issue of Strand Magazine , a New York literary quarterly that has built a reputation for finding and publishing “lost” writings of well-known authors.

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As a 21-year-old student, I embarked on one of the most intimate experiences I have ever shared with another person. The friendship was an insight into the underground that existed when homosexuality was still a crime

In 2003, I was at a dinner of “the like-minded” (Oxford University code for gay) when an academic leaving for a sabbatical in New York asked a favour: would I take over his slot as a volunteer reader for a gay blind man living alone in east Oxford?

I agreed, and so one evening in October I found myself cycling out of Christ Church to my first appointment. I rounded the turning to Roger Butler’s home and rang the doorbell twice, as instructed, to indicate that I was his expected visitor.

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