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New York Times Book Review • Editors' Choice Entertainment Weekly • Best Books of the Month Buzzfeed • Spring Books We Couldn't Put Down One of Finland’s most dynamic novelists bursts onto the American literary scene with this erotic story of an ambitious therapist’s sessions with an unforgettable patient. Natalia cannot stop thinking about sex. With this mesmerizing tale of one woman’s potent affliction, award-winning Finnish writer Laura Lindstedt makes her American debut. Narrated by an unnamed, ungendered therapist who leaps at the chance to employ their most experimental methods, My Friend Natalia offers a gripping examination of the power dynamics always present but rarely ever spoken about in therapy. “Something flared within me,” the therapist notes, “and it wasn’t merely sympathy, the emotion I feel for most of my clients. It was more like a sudden experience of harmony, wholly inappropriate given the circumstances.” It is clear from the moment Natalia barges into her new therapist’s office that she has motives beyond simply fixing her sex life. She is quick to mention that the same exact painting hanging on the therapist’s wall—an abstract piece titled Ear-Mouth—once hung in her grandmother’s living room. This comment deeply unsettles the therapist, as does the large alarm clock that Natalia brings with her, intent on timing the sessions herself. And the tape recorder. At first, Natalia seems to play along with the rules of therapy. She partakes in the therapist’s pain-displacement exercises, word games, and even produces a few anatomical illustrations. She muses on the art of pornography, and boldly examines seminal figures like Simone de Beauvoir and Jean-Paul Sartre, about whom she poses the question, “Did Jean-Paul consider Simone a woman at all? Or was she nothing but a pencil sharpener?” By combining philosophy and literature, repressed childhood memories and explicitly unrepressed erotic experiences, the sessions quickly shed all inhibitions. Still, the therapist can’t help but wonder: What does Natalia really want? Brilliantly translated by the award-winning David Hackston, My Friend Natalia buzzes in prose charged with sharp banter and double entendres as the therapist hurls strange—and hilarious—experimental exercises at Natalia, and their work builds to an explosive climax. In taking a deconstructive yet utterly scintillating approach to the self-help narratives of our time, Laura Lindstedt emerges as a rare and unflinching international literary talent.
Finally back in print, a frighteningly lucid feminist horror story about marriage The Dry Heart begins and ends with the matter-of-fact pronouncement: “I shot him between the eyes.” As the tale—a plunge into the chilly waters of loneliness, desperation, and bitterness—proceeds, the narrator's murder of her flighty husband takes on a certain logical inevitability. Stripped of any preciousness or sentimentality, Natalia Ginzburg's writing here is white-hot, tempered by rage. She transforms the unhappy tale of an ordinary dull marriage into a rich psychological thriller that seems to beg the question: why don't more wives kill their husbands?
From one of Italy’s greatest writers, a stunning novel “filled with shimmering, risky, darting observation” (Colm Tóibín) After WWII, a small Italian town struggles to emerge from under the thumb of Fascism. With wit, tenderness, and irony, Elsa, the novel’s narrator, weaves a rich tapestry of provincial Italian life: two generations of neighbors and relatives, their gossip and shattered dreams, their heartbreaks and struggles to find happiness. Elsa wants to imagine a future for herself, free from the expectations and burdens of her town’s history, but the weight of the past will always prove unbearable, insistently posing the question: “Why has everything been ruined?”
For fans of Laura Lippman and Marisa de los Santos, a tense family drama about a husband's quest to save his wife, who has been kidnapped in Lima, Peru in 1992. How far will he go to save their imperfect marriage?
Two novellas about domestic life, isolation, and the passing of time by one of the finest Italian writers of the twentieth century. Carmine, an architect, and Ivana, a translator, lived together long ago and even had a child, but the child died, and their relationship fell apart, and Carmine married Ninetta, and their child is Dodò, who Carmine feels is a little dull, and these days Carmine is still spending every evening with Ivana, but Ninetta has nothing to say about that. Family, the first of these two novellas from the 1970s, is an examination, at first comic, then progressively dark, about how time passes and life goes on and people circle around the opportunities they had missed, missing more as they do, until finally time is up. Borghesia, about a widow who keeps acquiring and losing the Siamese cats she hopes will keep her company in her loneliness, explores similar ground, along with the confusions of feeling and domestic life that came with the loosening social strictures of the 1970s. “She remembered saying that there were three things in life you should always refuse,” thinks one of Natalia Ginzburg’s characters, beginning to age out of youth: “Hypocrisy, resignation, and unhappiness. But it was impossible to shield yourself from those three things. Life was full of them and there was no holding them back.”
The hauntingly beautiful epistolary novel from “a glowing light of modern Italian literature” (New York Times Book Review) Longlisted for the PEN Translation Award At the heart of Happiness, as Such is an absence—an abyss that pulls everyone to its brink—created by a family’s only son, Michele, who has fled from Italy to England to escape the dangers and threats of his radical political ties. This novel is part epistolary: his mother writes letters to him, nagging him; his sister Angelica writes, missing him; so does Mara, his former lover, telling him about the birth of her son who may be his own. Left to clean up Michele’s mess, his family and friends complain, commiserate, tease, and grieve, struggling valiantly with the small and large calamities of their interconnected lives. Natalia Ginzburg's most beloved book in Italy and one of her finest achievements, Happiness, as Such is an original, wise, raw, comic novel that cuts to the bone.
When fifteen-year-old Cuban American Mariana Ruiz's father runs for president, Mari starts to see him with new eyes. A novel about waking up and standing up, and what happens when you stop seeing your dad as your hero--while the whole country is watching. In this authentic, humorous, and gorgeously written debut novel about privacy, waking up, and speaking up, Senator Anthony Ruiz is running for president. Throughout his successful political career he has always had his daughter's vote, but a presidential campaign brings a whole new level of scrutiny to sheltered fifteen-year-old Mariana and the rest of her Cuban American family, from a60 Minutes-style tour of their house to tabloids doctoring photos and inventing scandals. As tensions rise within the Ruiz family, Mari begins to learn about the details of her father's political positions, and she realizes that her father is not the man she thought he was. But how do you find your voice when everyone's watching? When it means disagreeing with your father--publicly? What do you do when your dad stops being your hero? Will Mari get a chance to confront her father? If she does, will she have the courage to seize it?
NATIONAL BOOK AWARD FINALIST • NEW YORK TIMES BESTSELLER • “Spectacular . . . [Téa Obreht] spins a tale of such marvel and magic in a literary voice so enchanting that the mesmerized reader wants her never to stop.”—Entertainment Weekly Look for Téa Obreht’s second novel, Inland, now available. NAMED ONE OF THE TEN BEST BOOKS OF THE YEAR BY Michiko Kakutani, The New York Times • Entertainment Weekly • The Christian Science Monitor • The Kansas City Star • Library Journal Weaving a brilliant latticework of family legend, loss, and love, Téa Obreht, the youngest of The New Yorker’s twenty best American fiction writers under forty, has spun a timeless novel that will establish her as one of the most vibrant, original authors of her generation. In a Balkan country mending from war, Natalia, a young doctor, is compelled to unravel the mysterious circumstances surrounding her beloved grandfather’s recent death. Searching for clues, she turns to his worn copy of The Jungle Book and the stories he told her of his encounters over the years with “the deathless man.” But most extraordinary of all is the story her grandfather never told her—the legend of the tiger’s wife. NAMED ONE OF THE BEST BOOKS OF THE YEAR BY The Wall Street Journal • O: The Oprah Magazine • The Economist • Vogue • Slate • Chicago Tribune • The Seattle Times • Dayton Daily News • Publishers Weekly • Alan Cheuse, NPR’s All Things Considered “Stunning . . . a richly textured and searing novel.”—Michiko Kakutani, The New York Times “[Obreht] has a talent for subtle plotting that eludes most writers twice her age, and her descriptive powers suggest a kind of channeled genius. . . . No novel [this year] has been more satisfying.”—The Wall Street Journal “Filled with astonishing immediacy and presence, fleshed out with detail that seems firsthand, The Tiger’s Wife is all the more remarkable for being the product not of observation but of imagination.”—The New York Times Book Review “That The Tiger’s Wife never slips entirely into magical realism is part of its magic. . . . Its graceful commingling of contemporary realism and village legend seems even more absorbing.”—The Washington Post
In this collection of her finest and best-known short essays, Natalia Ginzburg explores both the mundane details and inescapable catastrophes of personal life with the grace and wit that have assured her rightful place in the pantheon of classic mid-century authors. Whether she writes of the loss of a friend, Cesare Pavese; or what is inexpugnable of World War II; or the Abruzzi, where she and her first husband lived in forced residence under Fascist rule; or the importance of silence in our society; or her vocation as a writer; or even a pair of worn-out shoes, Ginzburg brings to her reflections the wisdom of a survivor and the spare, wry, and poetically resonant style her readers have come to recognize. "A glowing light of modern Italian literature . . . Ginzburg's magic is the utter simplicity of her prose, suddenly illuminated by one word that makes a lightning streak of a plain phrase. . . . As direct and clean as if it were carved in stone, it yet speaks thoughts of the heart.' — The New York Times Book Review
Spicy enemies to lovers fantasy romance with an HEA. STAY AWAY FROM THE COURT JESTER. ESPECIALLY IF YOU'RE A GOOD LITTLE PRINCESS. The Court Jester marks his targets with a ribbon. That's how I find out I'm next. The moment that band of scarlet fabric appears on my pillow, I know it's a promise-a bad omen delivered by someone wicked. He's powerful. He's sinful. They whisper about him in the castle's shadowed halls. Everyone fears his devilish tongue, yet everyone desires his heated touch. With each seductive temptation, I fall under the jester's spell. With every forbidden moment, he ignites a fire that I've never known before. But the jester is guarding a treasonous secret. And becoming his obsession is dangerous. As a good little princess, I should know. Because if I don't risk my ruin, I'll surely sacrifice my heart. WARNING: This is steamy NA/New Adult fantasy romance with explicit sexual content and language. For readers 18+ who want a scorching enemies to lovers story. **FOR CWs: Please check the author's website.** **2022 SECOND EDITION with spicy adult content including extended, new, and revised scenes.