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Gail Honeyman's Eleanor Oliphant is Completely Fine (Harper) has once again topped the UK Official Top 50, selling 19,984 copies for £111,356. This is its seventh non-consecutive week in the number one spot—the longest run at the top since David Walliams' The Midnight Gang (HarperCollins) in autumn 2016. Even Paula Hawkins' The Girl on the Train (Black Swan) took 20 weeks to rack up seven number ones in paperback (eventually charting top 12 times)—Eleanor Oliphant... has achieved it in 15 weeks.
Adam Kay's This is Going to Hurt (Picador) leapfrogged Lee Child's The Midnight Line (Bantam) to swipe second place, with 16,744 copies sold, and secured a third week as the Paperback Non-Fiction number one.
Karin Slaughter's The Good Daughter (HarperCollins) was the highest-charting new entry, in fourth place, with 14,900 copies sold. John le Carre's A Legacy of Spies (Penguin) followed closely behind in fifth, with 12,514 units shifted in its first three days on sale.
Kate Mosse's The Burning Chambers (Mantle) blazed into the Original Fiction number one, shifting 7,546 copies. The author's first title with Pan Macmillan hit her highest first-week volume for a hardback since Citadel in 2012.
It was a busy week for the Children's market, with Sarah J Maas scoring her third kids' number one with A Court of Frost and Starlight (Bloomsbury), selling 10,929 copies—a personal record. She is only the second female author to hit the Children's top spot this year, after Fiona Watt and Rachel Wells' That's Not My Chick (Usborne) in March. Liz Pichon's Biscuits, Bands and Very Big Plans (Scholastic) drummed into second place, with 9,826 copies sold, and Rick Riordan's The Burning Maze (Penguin) scorched into third place.
The print market declined slightly on the week before, dropping 2.3% in value week on week to £24.8m. However, it improved 0.2% on value against the same week in 2017, racking up the highest value for week 18 since 2010.