The Violent Century’s American Publication Day!

Published today in the US by Thomas Dunne Books, in (very handsome!) hardcover or e-book editions!

The book contains an exclusive Author Q&A, and a brand new short story, “Aftermaths”, set some time after the end of the novel. The Violent Century is currently on the International IMPAC Dublin Award longlist, was blurbed by no less a writer than James Ellroy, and was called a “masterpiece” by both the Independent (in the UK) and Library Journal (in the US).

So, you know. It’s nice!

The Violent Century, Thomas Dunne Books 2015

They’d never meant to be heroes.

For seventy years they guarded the British Empire. Oblivion and Fogg, inseparable friends, bound together by a shared fate. Until one night in Berlin, in the aftermath of the Second World War, and a secret that tore them apart.

But there must always be an account… and the past has a habit of catching up to the present.

Now, recalled to the Retirement Bureau from which no one can retire, Fogg and Oblivion must face up to a past of terrible war and unacknowledged heroism – a life of dusty corridors and secret rooms, of furtive meetings and blood-stained fields – to answer one last, impossible question:

What makes a hero?

Announcing… Jews vs Zombies AND Jews vs Aliens!

Jews vs Zombies

Jews vs Aliens

Jurassic London is proud to announce publication of a special pair of anthologies, edited by World Fantasy Award winning author Lavie Tidhar and acclaimed editor and writer Rebecca Levene.

Jews vs Zombies and Jews vs Aliens are published as e-book originals on March 19th, and are currently available for pre-orders. An limited paperback edition is set to follow.

The two anthologies irreverently explore the links between speculative fiction and Judaism. Authors featured include Orange Prize winner Naomi Alderman; The Big Bang Theory’s writer/co-executive producer Eric Kaplan; BSFA Award winning science fiction writer Adam Roberts; Israel’s Sapir Prize winner Shimon Adaf; Nebula Award winner author Rachel Swirsky; and cult fantasy author Daniel Polansky, among others. The stories run the gamut from the light-hearted to the profound, in turns surreal and enchanting.

Jurassic London ( was founded by Anne C Perry and Jared Shurin in 2011 and has since released several highly-regarded and award-winning titles. The publisher has worked with partners such as Tate Britain, English PEN, the Egypt Exploration Society, the Royal Observatory Greenwich and the National Maritime Museum.

Jurassic London is a not for profit organisation. All proceeds from the sale of Jews vs Zombies and Jews vs Aliens will go to support UK charity Mosac (

Mosac (Charity No: 1139077) provides practical and emotional support to non-abusing parents, carers and families of children who have been sexually abused. Based in Greenwich in south London, Mosac offers a national helpline, as well as counselling, advocacy, support groups and play therapy, and aims to break the silence surrounding child sexual abuse by raising awareness through training and consultancy.

For more information visit

To request a review copy contact

The editors are available for interview on request.


Jews vs Zombies


$3.69 / £2.99

“Rise” – Rena Rossner

“The Scapegoat Factory” – Ofir Touche Gafla
“Like a Coin Entrusted in Faith” –  Shimon Adaf
“Ten for Sodom” –  Daniel Polansky
“The Friday People” – Sarah Lotz
“Tactrate Metim 28A” – Benjamin Rosenbaum
“Wiseman’s Terror Tales” –  Anna Tambour
“Zayinim” –  Adam Roberts

Jews vs Aliens


$3.69 / £2.99

“Antaius Floating in the Heavens Among the Stars” – Andrea Phillips

“On the Matter of Meroz” – Roseanne Rabinowitz
“Alien Thoughts” – Eric Kaplan
“The Reluctant Jew” – Rachel Swirsky
“To Serve… Breakfast” – Jay Caselberg
“The Farm” – Elana Gomel
“Don?t Blink” – Gon Ben Ari
“Nameless and Shameless” – Lois H. Gresh
“The Ghetto” – Matthue Roth
“Excision” – Naomi Alderman

Edited by Rebecca Levene and Lavie Tidhar

Covers by Sarah Anne Langton (

“Aftermaths” and The Violent Century

The US edition of The Violent Century comes out on the 24th (next Tuesday!). It includes a couple of bonus items only available in this edition – an Author Q&A, and a new short story, “Aftermaths”, set in the world of The Violent Century a couple of years later.

I got asked on Facebook why that was, and why, therefore, you can only read “Aftermaths” in the US edition. Which is a pretty good question–

Back when I sold the novel to Hodder, they were quite keen on including something similar to this in the paperback edition. The problem was that by that time, I had spent far too long with the world of TVC – including a screenplay version, a comics version, and about a thousand drafts of the actual novel, not to mention edits, proofs, and so on – and, to be honest, I was sick to death of it. I just couldn’t do it.

I did produce a couple of other things, one of which I really liked – a fictional exchange between my editor and the British censor, regarding the book’s contravention of the Official Secrets Act – but it wasn’t quite right for publication in the end.

By the time the US edition came around, however, sufficient time had passed that I was a lot more relaxed about the whole thing. My editor at Thomas Dunne was keen on having some bonus material for this new edition, and I thought I could give it a try, at least. It also turned out that the character people seemed to like most in the book was Spit, who has a rather small role, and I have to admit I liked her too, so I wanted to see what she got up to after the book ended.

In the end, it fairly wrote itself, and it was surprisingly enjoyable for me to get back into that world, for just a little while. (I kind of think of it as the end title sequence in Four Weddings and a Funeral, and you might just spot a throwaway reference in there).

“Aftermaths” is about, well, what happens when stories end? It’s sort of a coda, I suppose – in a somewhat different way than The Last Osama was my coda for Osama – and I like it. What will happen to it after the US edition, I don’t really know. But it’s got a good home – and I hope people enjoy it.

Cover nomination for A Man Lies Dreaming

This is the sort of thing I’m delighted to shout about, since in a way it had nothing to do with me. I’ve been blessed with pretty great cover artists – David Frankland for the Bookman books (and John Coulthart for the omnibus edition); my long time artist Pedro Marques, who does all my PS Publishing books, including that iconic Osama cover; Melissa Gay, whose did HebrewPunk and Jesus & The Eightfold Path; Marko Manev, whose superhero noir series led us to asking him to do the cover for The Violent Century; and more. Not to mention the artists I worked with on more collaborative work, like Neil Struthers on I Dream of Ants and Paul McCaffrey, who did Going To The Moon with me and is currently hard at work on our comic mini-series, Adler – every page of which looks absolutely amazing.

So it’s nice when the artists are recognised. Pedro’s Osama cover, in particular, won wide acclaim – it was nominated for awards in the UK and France, and was used as the cover for several subsequent editions, including the Spanish and German ones.

So I’m delighted to see that this year’s Kitschies award (for which I was once nominated for best novel, and which I won for my work on the World SF Blog a while back) has chosen the cover of A Man Lies Dreaming for its shortlist of best artwork (out of a very large field indeed!).

I remember Anne, my editor, knew exactly what she wanted for the cover. I wish I had her original sketch, but her brief was that they were prison bars, fragmenting towards the end, representing Shomer’s mind in Auschwitz. Those broken bars offer that promise of escape. I don’t think it was consciously, then, clear that the bars would also become representative – as they do in the final artwork, by Ben Summers – of the uniforms worn by the prisoners of Auschwitz’s. The cover is stark, minimal, black and white, with only the title standing out in a bold, bloodied red, overlaying, yet never escaping, the bars.

The book comes sans dustjacket. Usually, I prefer them, but in this case the overall design works so well that the book feels complete in itself. The physical object of the hardcover is beautiful, austere, and everything from the cover down to the internal layout and typography is carefully thought out and designed.

The best cover art, I think, is the one you don’t expect at all, but that when you see it, you realise it was the right one all along. I think that’s the case with the cover for A Man Lies Dreaming, and whether it wins the award or not next month, I am delighted with it.
A Man Lies Dreaming Kitschies.png