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Sarah Moorhouse

London, Oxford

Research Editor at Oxford University Press

Book Reviewer at Freelance

Research Editor at Oxford University Press. Reviews and articles in the Spectator, TLS, LA Review of Books, Literary Review, Lithub etc

Articles

  • 2 months ago | the-tls.co.uk | Sarah Moorhouse

    Welcome to the TLSWinner of the 2024 Niche Market Newspaper of the Year Award and proudly niche since 1902.

  • 2 months ago | thecritic.co.uk | Sarah Moorhouse

    This article is taken from the March 2025 issue of The Critic. To get the full magazine why not subscribe? Right now we’re offering five issues for just £10. Kindles, soaring costs, a general crisis about readers and their waning attention spans. The last couple of decades haven’t exactly been plain sailing for those in the book business. It’s not surprising, then, that stories of a supposed golden age of publishing have begun to crop up.

  • Mar 3, 2025 | the-orb.org | Sarah Moorhouse

    By Sarah Moorhouse At a time when the promise of a massive advance tends to lure superstar novelists into publishing every couple of years, Chimamanda Ngozi Adichie is an outlier: she refuses to be rushed. Dream Count, her first novel in over a decade, is worth the wait. A pandemic novel, it’s about grief, about immigrant experiences and about friendship and love.

  • Feb 5, 2025 | thebookseller.com | Sarah Moorhouse

    For decades now, the ‘Big Five’ publishers have been swelling in size by amassing a huge number of imprints: names under which they publish that each focus on a specific genre, market or type of book. Some, such as Virago or Fourth Estate, used to be independent publishers, but many, such as Hachette’s Brazen Books or Penguin’s Fern Press, began within these larger organisations. The question is, does the industry have too many imprints and do they influence how readers behave?

  • May 30, 2024 | thebookseller.com | Sarah Moorhouse

    There is a certain mythology in the publishing industry about what makes a great editor. We might say that they have an "eye", an instinct or a taste that enables them to sniff out writers with potential and bring us books we really want to read. Editors can hold enormous influence: their backing can make a fledgling author’s career or launch new trends and genres. But what an editor’s "taste" involves is difficult to pin down.

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