Рэйвен Лейлани3.0 Эди работает в издательстве. И это не то чтобы работа мечты. Ведь Эди мечтает стать художницей. Как Артемизия Джентилески, как Караваджо, как Ван Гог. Писать шедевры, залитые артериальной кровью. Эди молода, в меру цинична, в меру безжалостна. В меру несчастна.
По вечерам она пишет маслом, пытаясь переложить жизнь на холст. Но по утрам краски блекнут, и ей ничего не остается, кроме как обороняться от одолевающего ее разочарования.
Неожиданно для самой себя она с головой уходит в отношения с мужчиной старше себя — Эриком. Он женат, но это брак без обязательств. Его жена Ребекка абсолютно не против их романа.
И это должно напоминать любовный треугольник, но в мире больше нет места для простых геометрических фигур.
Теперь все гораздо сложнее. И кажется, что сегодня все барьеры взяты, предрассудки отброшены, табу сняты. Но свобода сковывает сердце так же, как и принуждение, и именно из этого ощущения и рождается едкая и провокационная «Жажда».
Кейт Элизабет Расселл4.2 Ванессе было пятнадцать, когда у неё случился роман с сорокадвухлетним учителем литературы мистером Стрейном. Сейчас ей тридцать два и их связывают тёплые дружеские отношения. Когда одна из бывших учениц обвиняет Стрейна в домогательствах и призывает открыться всех, кто знал преподавателя с этой стороны, Ванесса оказывается перед мучительным выбором: молчать, отказываясь считать себя жертвой и продолжая верить в добровольность и чистоту тех отношений, или переосмыслить события прошлого и столкнуться с безжалостной правдой. Но если не любовь, то что же это было?
Akwaeke Emezi3.9 Named one of the year’s most anticipated books by The New York Times, Harper’s Bazaar, BuzzFeed, and more
What does it mean for a family to lose a child they never really knew?
One afternoon, in a town in southeastern Nigeria, a mother opens her front door to discover her son’s body, wrapped in colorful fabric, at her feet. What follows is the tumultuous, heart-wrenching story of one family’s struggle to understand a child whose spirit is both gentle and mysterious. Raised by a distant father and an understanding but overprotective mother, Vivek suffers disorienting blackouts, moments of disconnection between self and surroundings. As adolescence gives way to adulthood, Vivek finds solace in friendships with the warm, boisterous daughters of the Nigerwives, foreign-born women married to Nigerian men. But Vivek’s closest bond is with Osita, the worldly, high-spirited cousin whose teasing confidence masks a guarded private life. As their relationship deepens—and Osita struggles to understand Vivek’s escalating crisis—the mystery gives way to a heart-stopping act of violence in a moment of exhilarating freedom.
Propulsively readable, teeming with unforgettable characters, The Death of Vivek Oji is a novel of family and friendship that challenges expectations—a dramatic story of loss and transcendence that will move every reader.
Кэтрин Лэйси5.0 In a small unnamed town in the American South, a church congregation arrives to a service and finds a figure asleep on a pew. The person is genderless, racially ambiguous, and refuses to speak. One family takes the strange visitor in and nicknames them Pew.
As the town spends the week preparing for a mysterious Forgiveness Festival, Pew is shuttled from one household to the next. The earnest and seemingly well-meaning townspeople see conflicting identities in Pew, and many confess their fears and secrets to them in one-sided conversations. Pew listens and observes while experiencing brief flashes of past lives or clues about their origins. As days pass, the void around Pew’s presence begins to unnerve the community, whose generosity erodes into menace and suspicion. Yet by the time Pew’s story reaches a shattering and unsettling climax at the Forgiveness Festival, the secret of their true nature—as a devil or an angel or something else entirely—is dwarfed by even larger truths.
Pew, Catherine Lacey’s third novel, is a foreboding, provocative, and amorphous fable about the world today: its contradictions, its flimsy morality, and the limits of judging others based on their appearance. With precision and restraint, one of our most beloved and boundary-pushing writers holds up a mirror to her characters’ true selves, revealing something about forgiveness, perception, and the faulty tools society uses to categorize human complexity.
Дима Альзаят0.0 The award-winning stories in Dima Alzayat’s collection are luminous and tender, whether dealing with a woman performing burial rites for her brother in “Ghusl,” or a great-aunt struggling to explain cultural identity to her niece in “Once We Were Syrians.”
Alzayat’s stories are rich and relatable, chronicling a sense of displacement through everyday scenarios. There is the intern in pre-#MeToo Hollywood of “Only Those Who Struggle Succeed,” the New York City children on the lookout for a place to play on the heels of Etan Patz’s kidnapping in “Disappearance,” and the “dangerous” women of “Daughters of Manāt” who struggle to assert their independence.
The title story, “Alligator,” is a masterpiece of historical reconstruction and intergenerational trauma, told in an epistolary format through social media posts, newspaper clippings, and testimonials, that starts with the true story of the lynching of a Syrian immigrant couple by law officers in small-town Florida. Placed in a wider context of U.S. racial violence, the extrajudicial deaths, and what happens to the couple’s children and their children’s children in the years after, challenges the demands of American assimilation and its limits.
Alligator and Other Stories is haunting, spellbinding, and unforgettable, while marking Dima Alzayat’s arrival as a tremendously gifted new talent.
Рай Кертис0.0 The lives of two women—the sole survivor of an airplane crash and the troubled park ranger who leads the rescue mission to find her —intersect in a gripping debut novel of hope and resilience, second thoughts and second chancesI no longer pass judgment on any man nor woman. People are people, and I do not believe there is much more to be said on the matter. Twenty years ago I might have been of a different mind about that, but I was a different Cloris Waldrip back then. I might have gone on being that same Cloris Waldrip, the one I had been for seventy-two years, had I not fallen out of the sky in that little airplane on Sunday, August 31, 1986. It does amaze that a woman can reach the tail end of her life and find that she hardly knows herself at all.When seventy-two-year-old Cloris Waldrip finds herself lost and alone in the unforgiving wilderness of the Montana mountains, with only a bible, a sturdy pair of boots, and a couple of candies to keep her alive, it seems her chances of ever getting home to Texas are slim.Debra Lewis, a park ranger, who is drinking her way out of the aftermath of a messy divorce is the only one who believes the old lady may still be alive. Galvanized by her newfound mission to find her, Lewis leads a motley group of rescuers to follow the trail of clues that Cloris has left behind.But as days stretch into weeks, and Cloris’s situation grows ever more precarious, help arrives from the unlikeliest of places, causing her to question all the certainties on which she has built her life.Suspenseful, wry and gorgeously written Kingdomtide is the inspiring account of two unforgettable characters, whose heroism reminds us that survival is only the beginning.‘Suspenseful from start to finish … First novels are often praised for an author’s potential, but Kingdomtide displays an exceptional talent fully realized’ Ron Rash, New York Times bestselling author of Serena
Фрэнсис Ча4.0 Пять девушек. Пять тяжёлых судеб. Один офистель.
Эту комнату снимает Кьюри. Она работает в рум-салоне — так в Южной Корее скромно называют клубы, где мужчины из высших кругов могут выпить в приятной компании красивых девушек, а потом, возможно, продолжить с ними вечер в гостиничном номере. Однажды сделав пластическую операцию, Кьюри больше не может остановиться. Если ты некрасива в этой стране, у тебя просто-напросто нет будущего.
Соседка Кьюри, талантливая художница Михо, выросла в приюте, но выиграла стипендию и уехала изучать искусство в Нью-Йорк. Она влюблена в обаятельного наследника одной из крупнейших корпораций страны. Но разве не очевидно, что он пользуется её слепой влюбленностью?..
В комнате в конце коридора живёт Ара, парикмахер, одержимая k-pop-айдолом. Разве он — не самый идеальный парень на свете? А её лучшая подруга Суджин одержима мечтой о пластической операции, которая, конечно же, изменит её жизнь. Вонна, этажом ниже, отчаянно хочет родить ребёнка, но понятия не имеет, как его растить на жалкую зарплату её мужа...
Пять историй, которые складываются в одну — историю о том, как от боли спасли вовсе не любовь и шикарная жизнь. Дружба.
Наис Долан3.4 Ava moved to Hong Kong to find happiness, but so far, it isn’t working out. Since she left Dublin, she’s been spending her days teaching English to rich children—she’s been assigned the grammar classes because she lacks warmth—and her nights avoiding petulant roommates in her cramped apartment.
When Ava befriends Julian, a witty British banker, he offers a shortcut into a lavish life her meager salary could never allow. Ignoring her feminist leanings and her better instincts, Ava finds herself moving into Julian’s apartment, letting him buy her clothes, and, eventually, striking up a sexual relationship with him. When Julian’s job takes him back to London, she stays put, unsure where their relationship stands.
Enter Edith. A Hong Kong–born lawyer, striking and ambitious, Edith takes Ava to the theater and leaves her tulips in the hallway. Ava wants to be her—and wants her. Ava has been carefully pretending that Julian is nothing more than an absentee roommate, so when Julian announces that he’s returning to Hong Kong, she faces a fork in the road. Should she return to the easy compatibility of her life with Julian or take a leap into the unknown with Edith?
Politically alert, heartbreakingly raw, and dryly funny, Exciting Times is thrillingly attuned to the great freedoms and greater uncertainties of modern love. In stylish, uncluttered prose, Naoise Dolan dissects the personal and financial transactions that make up a life—and announces herself as a singular new voice.
Уилл Харрис0.0 <P>In RENDANG, Will Harris complicates and experiments with the lyric in a way that urges it forward. With an unflinching yet generous eye, RENDANG is a collection that engages equally with the pain and promise of self-perception. Drawing on his Anglo-Indonesian heritage, Harris shows us new ways to think about the contradictions of identity and cultural memory. He creates companions that speak to us in multiple languages; they sit next to us on the bus, walk with us through the crowd, and talk to us while we're chopping shallots. They deftly ask us to consider how and what we look at, as well as what we don't look at and why. </P><P>Playing eruditely with and querying structures of narrative, with his use of the long poem, the image, ekphrasis, and ruptured forms, RENDANG is a startling new take on the self, and how an identity is constructed. It is intellectual and accessible, moving and experimental, and combines a linguistic innovation with a deep emotional rooting.</P>
Caoilinn Hughes0.0 It's 2008, and the Celtic Tiger has left devastation in its wake. For Hart and Cormac Doharty life continues as normal - at least at first. But when their father falls ill, the boys face a devastating choice. Their family, and their community, are in crisis, and there's nothing more dangerous than two men with nothing to lose. This bold, razor-sharp take on the consequences of one life-changing decision fizzes with the voice of rural Ireland. By turns outrageous,
Габриэл Краузе3.4 Who They Was is an electrifying autobiographical British novel: a debut that truly breaks new ground and shines a light on lives that run on parallel, but wildly different tracks.
This life is like being in an ocean. Some people keep swimming towards the bottom. Some people touch the bottom with one foot, or even both, and then push themselves off it to get back up to the top, where you can breathe. Others get to the bottom and decide they want to stay there. I don’t want to get to the bottom because I’m already drowning.
This is a story of a London you won’t find in any guidebooks.
This is a story about what it’s like to exist in the moment, about boys too eager to become men, growing up in the hidden war zones of big cities – and the girls trying to make it their own way.
This is a story of reputations made and lost, of violence and vengeance – and never counting the cost.
This is a story of concrete towers and blank eyed windows, of endless nights in police stations and prison cells, of brotherhood and betrayal.
This is about the boredom, the rush, the despair, the fear and the hope.
Ромалин Анте0.0 ‘A day will come when you won’t miss
the country na nagluwal sa ‘yo.’
– ‘Antiemetic for Homesickness’
The poems in Romalyn Ante’s luminous debut build a bridge between two worlds: journeying from the country ‘na nagluwal sa ‘yo’ – that gave birth to you – to a new life in the United Kingdom.
Steeped in the richness of Filipino folklore, and studded with Tagalog, these poems speak of the ache of assimilation and the complexities of belonging, telling the stories of generations of migrants who find exile through employment – through the voices of the mothers who leave and the children who are left behind.
With dazzling formal dexterity and emotional resonance, this expansive debut offers a unique perspective on family, colonialism, homeland and heritage: from the countries we carry with us, to the places we call home.
