‘Like Edward St Aubyn and Anne Enright, Hamya is so good on generational conflict, the friction of family, and the damage done by charming but complacent men’ DAVID NICHOLLS

‘A slippery, excellent exploration of sexual politics, creative appropriation, and family dynamics . . . It lands its ending with all the force of a sharp knife hurled at a bullseye’ VANITY FAIR

Sicily, 2010. Sophia, on the cusp of adulthood, spends a long hot summer with her father, a successful author. Over the course of that holiday, their relationship will fracture.

London, 2020. Sophia’s father, now 61, sits in a large theatre, surrounded by strangers, watching his daughter’s first play. A play that takes that Sicilian holiday as its subject and will force him to watch his purported crimes re-enacted. Set over the course of one climactic day, this is the story of a father and a daughter, of all that divides and binds them.

‘Wickedly funny. A perfect novel’ SARAH BERNSTEIN

‘Brilliant . . . With a precision of language that ought to make Hamya’s contemporaries quake and a tenderness you don’t see coming’ ATLANTIC

The Aeolian islands, 2010. Sophia, on the cusp of adulthood, spends a long hot summer with her father in Sicily. There she falls in love for the first time. There she works as her father’s amanuensis, typing the novel he dictates, a story about sex and gender divides. There, their relationship fractures.

London, Summer 2020. Sophia’s father, a 61-year-old novelist who does not feel himself to be a bad or outdated person sits in a large theatre, surrounded by strangers, watching his daughter’s first play. A play that takes that Sicilian holiday is its subject. A play that will force him to watch his purported crimes play out in front of him.

It’s autumn 2018 and a young woman moves into a rented room in university accommodation, ready to begin a job as a research assistant at Oxford. Here, living and working in the spaces that have birthed the country’s leaders, she is both outsider and insider, and she can’t shake the feeling that real life is happening elsewhere.

Eight months later she finds herself in London. She’s landed a temp contract at a society magazine and is paying £80 a week to sleep on a stranger’s sofa. Summer rolls on and England roils with questions around its domestic civil rights: Brexit, Grenfell, climate change, homelessness. Meanwhile, tensions with her flatmate escalate, she is overworked and underpaid, and the prospects of a permanent job seem increasingly unlikely, until finally she has to ask herself: what is this all for?

Incisive, original and brilliantly observed, Three Rooms is the story of a search for a home and for a self. Driven by despair and optimism in equal measure, the novel poignantly explores politics, race and belonging, as Jo Hamya asks us to consider the true cost of living as a young person in 21st-century England.

‘A stunning achievement . . . In every way possible, Three Rooms is a novel for our times’ COURTTIA NEWLAND