A quietly revolutionary account of cohabiting captured a nation’s heart – but what does it mean for the rest of the world?

When Sunwoo and Hana met on Twitter, they were in their 40s and committed bachelorettes. Both raised by the sea in Busan, they studied in Seoul before entering the city’s famously brutal rat race, Sunwoo as a fashion journalist, Hana as a copywriter. They shared the same taste in music and books, and importantly, both had rejected marriage. No wonder. In South Korea’s stubbornly patriarchal culture, women in dual-income families spend nearly three hours more a day on household chores than men. Instead, Sunwoo and Hana joined the large number of South Koreans living alone. At first, independence felt exhilarating. By middle age however, loneliness was beginning to gnaw, and their boxy studio apartments felt oppressively small.

Two Women Living Together, a 2019 South Korean bestseller that spawned a popular podcast, charts Sunwoo and Hana’s decision to buy a sunlit house together and live not as a romantic couple but as friends. Across 49 warm, chatty essays, they invite us into the life they share with four cats, reflecting on everything from the food they love to their retirement fantasies.

Memoirs from Liza Minnelli and Lena Dunham, essays by David Sedaris and Alan Bennett’s diaries are among the highlights of the year ahead

Over the past year we’ve been spoiled for memoirs from high-wattage stars – Cher, Patti Smith and Anthony Hopkins among them. But 2026 begins with a very different true story, from someone who never chose the spotlight, but now wants some good to come of her appalling experiences. After the trial that resulted in her husband and 50 others being convicted of rape or sexual assault, Gisèle Pelicot’s aim is to nurture “strength and courage” in other survivors. In A Hymn to Life (Bodley Head, February) she insists that “shame has to change sides”. Another trial – of the men accused of carrying out the Bataclan massacre – was the subject of Emmanuel Carrère’s most recent book, V13. For his next, Kolkhoze (Fern, September), the French master of autofiction turns his unsparing lens back on himself, focusing on his relationship with his mother Hélène, and using it to weave a complex personal history of France, Russia and Ukraine. Family also comes under the microscope in Ghost Stories (Sceptre, May) by Siri Hustvedt, a memoir of her final years with husband Paul Auster, who died of cancer in 2024.

Hollywood isn’t totally out of the picture, though: The Steps (Seven Dials, May), Sylvester Stallone’s first autobiography, follows the star from homelessness in early 70s New York to Rocky’s triumph at the Oscars later that decade. Does achieving your creative dreams come at a price, though? Lena Dunham suggests as much in Famesick (4th Estate, April), billed as a typically frank memoir of how how her dramatic early success gave way to debilitating chronic illness. Frankness of a different kind is promised in More (Bloomsbury, September), actor Gillian Anderson’s follow-up to her bestselling 2024 anthology of women’s sexual fantasies, Want.

A collection of columns by the German Booker winner reveals a keen eye for the details that mark the passing of time

Jenny Erpenbeck wrote the pieces collected in this compact yet kaleidoscopic book for a column in the newspaper Frankfurter Allgemeine Zeitung; published in German in 2009, they now appear in an English translation by Kurt Beals, following the immense success of Erpenbeck’s novel Kairos, which won the 2024 International Booker prize.

It’s interesting and instructive to reflect on what German newspaper readers made of the column in the early years of the new millennium, nearly two decades on from the fall of the Berlin Wall. For while Erpenbeck adopted some of the features of the form – apparently throwaway observations on daily life, such as minor irritation at the difficulty of sourcing proper splitterbrötchen, an unpretentious pastry now pimped for a more elaborate and wealthy clientele – she consistently enlarged and complicated it. Into that recognisable tone of ennui and mild querulousness with which journalists hope to woo a time-pressed but disenchanted or nostalgic readership, Erpenbeck smuggled metaphysics, politics and history.