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Piranesi lives in the House. Perhaps he always has. In his notebooks, day after day, he makes a clear and careful record of its wonders: the labyrinth of halls, the thousands upon thousands of statues, the tides that thunder up staircases, the clouds that move in slow procession through the upper halls. On Tuesdays and Fridays Piranesi sees his friend, the Other. At other times he brings tributes of food and waterlilies to the Dead. But mostly, he is alone. Messages begin to appear, scratched out in chalk on the pavements. There is someone new in the House. But who are they and what do they want? Are they a friend or do they bring destruction and madness as the Other claims? Lost texts must be found; secrets must be uncovered. The world that Piranesi thought he knew is becoming strange and dangerous
NATIONAL BESTSELLER • The lives of three women—transgender and cisgender—collide after an unexpected pregnancy forces them to confront their deepest desires in “one of the most celebrated novels of the year” (Time) “Reading this novel is like holding a live wire in your hand.”—Vulture One of the New York Times’s 100 Best Books of the 21st Century Named one of the Best Books of the Year by more than twenty publications, including The New York Times Book Review, Entertainment Weekly, NPR, Time, Vogue, Esquire, Vulture, and Autostraddle PEN/Hemingway Award Winner • Finalist for the Lambda Literary Award, the National Book Critics Circle Award, and the Gotham Book Prize • Longlisted for The Women’s Prize • Roxane Gay’s Audacious Book Club Pick • New York Times Editors’ Choice Reese almost had it all: a loving relationship with Amy, an apartment in New York City, a job she didn't hate. She had scraped together what previous generations of trans women could only dream of: a life of mundane, bourgeois comforts. The only thing missing was a child. But then her girlfriend, Amy, detransitioned and became Ames, and everything fell apart. Now Reese is caught in a self-destructive pattern: avoiding her loneliness by sleeping with married men. Ames isn't happy either. He thought detransitioning to live as a man would make life easier, but that decision cost him his relationship with Reese—and losing her meant losing his only family. Even though their romance is over, he longs to find a way back to her. When Ames's boss and lover, Katrina, reveals that she's pregnant with his baby—and that she's not sure whether she wants to keep it—Ames wonders if this is the chance he's been waiting for. Could the three of them form some kind of unconventional family—and raise the baby together? This provocative debut is about what happens at the emotional, messy, vulnerable corners of womanhood that platitudes and good intentions can't reach. Torrey Peters brilliantly and fearlessly navigates the most dangerous taboos around gender, sex, and relationships, gifting us a thrillingly original, witty, and deeply moving novel.
The Tamer Tamed is the subtitle or alternative title to John Fletcher's The Woman's Prize, a comedic sequel and reply to The Taming of the Shrew. The plot switches the gender roles of Shakespeare's play: the women seek to tame the men. Katherine (the "shrew" of the original) has died, and Petruchio takes a second wife, Maria. Maria denounces her former mildness and vows not to sleep with Petruchio until she "turn him and bend him as [she] list, and mold him into a babe again." After many comedic exchanges and plot twists, Petruchio is finally "tamed" in the eyes of Maria, and the play ends with the two reconciled. The play is seen to reflect how society's views of women, femininity, and "domestic propriety" were beginning to change. It is said that Fletcher wrote this play to attract Shakespeare's attention - the two went on to collaborate on at least three plays together. This brand new New Mermaid edition offers unique and fresh insight into the critical interpretation of the play. It builds on current critical foundations (the relationship with Taming of the Shrew, gender relations etc) and suggests different areas of interest (popular associations of the shrew, the question of reputation, and a re-examination of the play's structure). as well as examining stage history and recent productions.
Longlisted for the 2019 Women’s Prize, this poignant, lyrical novel is set in 1970s Romania during Communist dictator Nicolae Ceausescu’s regime—and depicts childhood, marriage, family, and identity in the face of extreme obstacles. Alina yearns for freedom. She and her husband Liviu are teachers in their twenties, living under the repressive regime of Communist dictator Nicolae Ceausescu in the Socialist Republic of Romania in the 1970s. But after her brother-in-law defects, Alina and Liviu fall under suspicion and surveillance, and their lives are suddenly turned upside down—just like the glasses in her superstitious Aunt Theresa's house that are used to ward off evil spirits. But Alina's evil spirits are more corporeal: a suffocating, manipulative mother; a student who accuses her; and a menacing Secret Services agent who makes one-too-many visits. As the couple continues to be harassed, their marriage soon deteriorates. With the government watching—and most likely listening— escape seems impossible . . . until Alina’s mystical aunt proposes a surprising solution to reduce her problems to a manageable size. Weaving elements of magic realism, Romanian folklore, and Kafkaesque paranoia into a gritty and moving depiction of one woman's struggle for personal and political freedom, Bottled Goods is written in short bursts of “flash fiction” and explores universal themes of empowerment, liberty, family, and loyalty.
Stylish reissue of the Orange Prize Winning Novel.
A GOOD MORNING AMERICA BOOK CLUB PICK Shortlisted for the 2020 Women's Prize for Fiction “Through a novel with so much depth, beauty, and grace, we, like Ana, are forever changed.” —Jacqueline Woodson, Vanity Fair “Gorgeous writing, gorgeous story.” —Sandra Cisneros Fifteen-year-old Ana Cancion never dreamed of moving to America, the way the girls she grew up with in the Dominican countryside did. But when Juan Ruiz proposes and promises to take her to New York City, she has to say yes. It doesn’t matter that he is twice her age, that there is no love between them. Their marriage is an opportunity for her entire close-knit family to eventually immigrate. So on New Year’s Day, 1965, Ana leaves behind everything she knows and becomes Ana Ruiz, a wife confined to a cold six-floor walk-up in Washington Heights. Lonely and miserable, Ana hatches a reckless plan to escape. But at the bus terminal, she is stopped by Cesar, Juan’s free-spirited younger brother, who convinces her to stay. As the Dominican Republic slides into political turmoil, Juan returns to protect his family’s assets, leaving Cesar to take care of Ana. Suddenly, Ana is free to take English lessons at a local church, lie on the beach at Coney Island, see a movie at Radio City Music Hall, go dancing with Cesar, and imagine the possibility of a different kind of life in America. When Juan returns, Ana must decide once again between her heart and her duty to her family. In bright, musical prose that reflects the energy of New York City, Angie Cruz's Dominicana is a vital portrait of the immigrant experience and the timeless coming-of-age story of a young woman finding her voice in the world.
Early on a gray November morning in 1941, a small Ukrainian town is overrun by the SS. Penned in with his fellow Jews, a father anxiously awaits word of his two sons, while a young woman, come to fetch her sweetheart away from the invaders, must confront new and harsh truths about those closest to her. At the same time, a German engineer, here to avoid a war he considers criminal, is faced with an even greater crime unfolding behind the lines and no one but himself to turn to. And in the midst of it all, a boy determined to survive must throw in his lot with strangers. As their stories weave together, each of these characters comes to know the compromises demanded by survival, the oppressive power of fear, and the possibility of courage in the face of terror.
Catherine and her brother, Rob, don't know why they have been abandoned by their parents. Incarcerated in the enormous country house of their grandfather, they create a refuge against their family's dark secrets as the outside world moves towards the First World War. As time passes their sibling love deepens and crosses into forbidden territory.
Ian McEwan once said, 'When women stop reading, the novel will be dead.' This book explains how precious fiction is to contemporary women readers, and how they draw on it to tell the stories of their lives. Female readers are key to the future of fiction and—as parents, teachers, and librarians—the glue for a literate society. Women treasure the chance to read alone, but have also gregariously shared reading experiences and memories with mothers, daughters, grandchildren, and female friends. For so many, reading novels and short stories enables them to escape and to spread their wings intellectually and emotionally. This book, written by an experienced teacher, scholar of women's writing, and literature festival director, draws on over 500 interviews with and questionnaires from women readers and writers. It describes how, where, and when British women read fiction, and examines why stories and writers influence the way female readers understand and shape their own life stories. Taylor explores why women are the main buyers and readers of fiction, members of book clubs, attendees at literary festivals, and organisers of days out to fictional sites and writers' homes. The book analyses the special appeal and changing readership of the genres of romance, erotica, and crime. It also illuminates the reasons for British women's abiding love of two favourite novels, Pride and Prejudice and Jane Eyre. Taylor offers a cornucopia of witty and wise women's voices, of both readers themselves and also writers such as Hilary Mantel, Helen Dunmore, Katie Fforde, and Sarah Dunant. The book helps us understand why—in Jackie Kay's words—'our lives are mapped by books.'
LONGLISTED FOR THE 2022 PEN/FAULKNER AWARD FOR FICTION "Claire Oshetsky’s novel is a marvel: its language a joy, its imagination dizzying." —Rumaan Alam, New York Times bestselling author of Leave the World Behind An exhilarating, provocative novel of motherhood in extremis Tiny is pregnant. Her husband is delighted. “You think this baby is going to be like you, but it’s not like you at all,” she warns him. “This baby is an owl-baby.” When Chouette is born small and broken-winged, Tiny works around the clock to meet her daughter’s needs. Left on her own to care for a child who seems more predatory bird than baby, Tiny vows to raise Chouette to be her authentic self. Even in those times when Chouette’s behaviors grow violent and strange, Tiny’s loving commitment to her daughter is unwavering. When she discovers that her husband is on an obsessive and increasingly dangerous quest to find a “cure” for their daughter, Tiny must decide whether Chouette should be raised to fit in or to be herself—and learn what it truly means to be a mother. Arresting, darkly funny, and unsettling, Chouette is a brilliant exploration of ambition, sacrifice, perceptions of ability, and the ferocity of motherly love.