Welcome to our section Modern Art Effects. The will of the the team of HappenArt, Arts and Culture Platform, makes you discover its selections of books. Conferences, analyzes and critics of contemporary art.
Modern Art Effects, submission conference or events ⇒
Modern Art Effects Contemponary
Of course one could say: why bother? We live in a pluralistic culture where every form of art. Old and new. Also, high and low and every shade of grey can exist in freedom and can compete for attention in public space. But this is not so. Also, our culture is not pluralistic at all. The money destined to support contemporary artistic enterprise in public space. IIe. new art and new music. Is carefully channelled towards art forms which follow a definite collection of narrow ideas and Assumptions,.developed in the postwar period, with the exclusion of alternatives. It is schocking to discover that. Many serious artists are working independently of what ‘the establishment’.
Expects from ‘new art’. Still cultivating high artistic standards, and many of them of great talent. But they cannot be seen in the museums of modern art or heard at the festivals of new music. Both the kind of places entirely dedicated to modernism, postmodernism. Finally,concept art, etc. etc. Mostly all possible forms of nonsense and puerile attempts.
This means that these artists cannot. Or hardly, reach audiences who could be pleasantly surprised about such a variety of high quality works. There are many people around in these institutions. Whose ignorance and irresponsibility make sure that serious new art and new music. Cannot be found there. New art and new music have become a separate category. Next to the museum culture of the old collections. Of paintings and sculpture and old music in the concert halls and opera houses. Run by an entirely different kind of people who. Understandably, don’t care much about the ‘new’ forms which merely demonstrate a sorry decline. And most of the time present new works merely out of a sense of polite obligation. New visual art and new music. As found in the established forms of presentation. hHve killed themselves off completely in the chase after entirely nonsensical goals.
Modern Art Effects HappenArt.
MONOCULTURE – A recent history
M HKA, MUSEUM OF CONTEMPORARY ART ANTWERP – Until April 24, 2021 Antwerp (Belgium)
The MONOCULTURE – A Recent History exhibition assumes that any understanding of the concept of “multiculture” would require research into that of “monoculture”. Social understanding of “monoculture” can be defined as the homogeneous expression of the culture of a specific social or ethnic group. The project aims to approach the notion of monoculture with an open mind. It will therefore aim to conduct an analysis rather than develop an antithesis to monoculture. Not only from historical, social perspectives. Cultural and ideological. But also philosophical. Linguistic and agricultural. MONOCULTURE will provide an experimental mapping. Allowing a comparative analysis of the different manifestations of monoculture. As well as their reflection on art and propaganda. With a view to drawing conclusions which may be relevant for society and culture in general.
Hannah Höch. Lovis Corinth. Karl Hofer. George Grosz. Carol Rama. Werner Peiner. Joseph Beuys. Felix Gonzalez-Torres. Åsa Sonjasdotter. Andy Warhol. Nicole. Hüseyin Bahri Alptekin. Haseeb Ahmed. Sven Augustijnen. Candida Höfer. Papa Ibra Tall. Maryam Najd. David Blandy. Oxana Shachko. Matti Braun. Jos de Gruyter & Harald Thys. Luc Deleu. Jimmie Durham. Catherine Opie. Charlotte Posenenske. Public Movement. Philip Guston. Mladen Stilinović, N. S. Harsha, Lynette Yiadom-Boakye, Rasheed Araeen, Ibrahim Mahama, Kerry James Marshall, Vincent Meessen, Renzo Martens / CATPC, Danny Matthys, Jonas Staal, Sille Storihle, Makhmut Usmanovich Us Venov, Nicoline Dimit van Harskamp.
Highland Park Ebell Club – March 21, 2020 Los Angeles (US)
CALL FOR ARTISTS: Elevate Your Career
If you’re an artist who wants to grow your business, don’t miss the 2nd Annual NOT REAL ART Creators Conference in Los Angeles on March 21, 2020. Early bird tickets are $75. Learn from Top Artists + Expert. Improve Your Business Knowledge. Grow Your Professional Network. Learn. Share. Grow.
NOT REAL ART Creators Conference empowers artists to learn, share and grow professionally. During this intimate one day course, world-class artists and experts will share their invaluable knowledge and experience on many vital topics essential to an artist’s success today:
NOT REAL ART Creators Conference contains dynamic presentations and conversations. This year’s exciting speakers include: Collette Miller, Visual Artist. Man One, Visual Artist. Jeff Soto, Visual Artist. Camilla Rose Garcia, Artist. Channing Dungey, Netflix VP, Original Series. Jorge Gutierrez, Animator. Professor Aaron Kay, PhD, Duke University. Frances Anderton, Art Journalist, KCRW 89.9. Bret Hofstein, Psychotherapist. Sourdough Power, Moderator.
This exciting conference is being held from 9:30am-5pm on March 21, 2020 at the historic Highland Park Ebell Club located at 131 S Ave 57, Los Angeles, 90042. And, be sure to join us the night before on Friday, March 20 from 7pm-11pm at the Mayfair Hotel for our opening festivities:
7pm — POWHER Art Exhibition @ Regime Contemporary Gallery 9pm — Parlor Social Musical Performance
Conceived by Hans Ulrich Obrist. This series brings together artists with the individuals. Who have significantly influenced the development of their artistic practice. For this edition. Katharina Grosse and Sarah Sze speak on their own and each other’s work. And how Grosse’s work inspired and informed Sze. Grosse is a major figure who creates immersive site-specific installations. Using architecture and landscape with paint and stencils cut. From cardboard and thick foam rubber. The influence of this expanded/abstracted painting practice. Will be in dialogue with Sze whose installations are made of everyday objects to challenge systems of order. This conversation will investigate the use. Of gesture and celestial scale to push towards potentially new ways of thinking.
A “Performative Conference” Reimagines the Social World
Performance Space – Sunday, Oct 7, 2018 New york (US)
This Sunday, Performance Space New York presents. The Permeable Stage — Reimagining the Social. A performative conference hosted by choreographer and dancer Mette Ingvartsen. Ingvartsen makes performances that “stimulate the intellect. And organizes conferences that appeal to the senses.” The Permeable Stage will feature artists. Theorists. Filmmakers, and activists in dialogue about relationships between humans. Technologies, animals, plants, etc.
Technology and algorithms.
The conference begins at 1 pm with an introduction by Ingvartsen and a short film. Donkey With Snow, by Romuald Karmakar. At 1:15. Annie Dorsen will perform from her 2010 work “Hello Hi There”. And an interview with Dorsen on technology and algorithms. In performance will follow. At 2:15. Patricia T. Clough will give a lecture on. “Post-Phenomenological Subjectivity and Datafication,” and at 3:15. Isabel Lewis will host a celebratory gathering. “Using choreography. Music. Spoken address. Storytelling in ways that allow for conversation. Contemplation. Dancing. Listening, or just simply being.” At 5:15 Ingvartsen and Carolee Schneemann will come together for a conversation. and following. Che Gossett will take the floor for a lecture titled. “Abolitionist Entanglement: Blackness, Palestinian Struggle and the Limits of ‘Solidarity’”. Finally, the conference will close with a DJ set by Isabel Lewis.
5 th edition of the Rencontres Research and Creation
Organized by the French National Research Agency and the Avignon Festival , organized with the professional performing arts House and the Ministry of Culture 10/11 July 2018
Conversation. Learning. Irony, Power. Identities. Fiction … No companies without rules of the game!
By bringing together authors, actors, directors, choreographers and researchers from different disciplines. These International Encounters. Help to move the boundaries of knowledge and open new perspectives.
Anthropologists. Historians. Sociologists. Philosophers, Linguists. Musicologists. Specialists in theatrical and literary studies. Psychology and cognitive neuroscience. Will exchange with the artists and the public of the Festival. After “Corps en scène”. “Mise en intrigues”. “Violence et passion”. “The disorder of the world! This edition will bring together. The thought of works and the latest scientific works around the theme. “The game and the rule! “.
An area of excellence for research in the humanities. Social sciences in its disciplinary diversity. The theme of creation is also emerging for cognitive sciences. Also, neuroscience through the analysis of perceptual. Emotional or motor processes and fundamental learning. The origin of language and languages. The functioning of the mind and the complexity of human communication. The texts and stories of past civilizations. Or of today’s society are all fundamental questions for research. That are explored during the meetings. These questions are also at the heart of projects funded. By the National Research Agency and Investments for the Future.
In a context of globalization. Which is accompanied by new forms of exchange between cultures. This event is part of a perspective of better knowledge of creation. Both from the point of view of its social and economic function. Fally, its role in human development and the cohesion of societies.
In creation as in innovation, our society is reinventing itself!
Meetings Research and Creation: 10th and 11th of July 2018 – 9h30 / 17h Seminar Research and Creation: 12th of July 2018 – 10h / 17h Place: Cloitre Saint Louis, Avignon
Beyond Speculation: Art and Aesthetics without Myths
In his well-known work of art criticism. Art of the Modern Age. Jean-Marie Schaeffer offered a lucid and powerful critique. Of what he identified as the historically dominant thinking about art. And aesthetics from the Jena Romantics, to Nietzsche. Heidegger. Adorno and beyond. Also, which he termed “the speculative theory of art”.
Here, in Beyond Speculation, Schaeffer builds from this significant work. Rejecting not only the identification of the aesthetic with the work of art. But also the Kantian association of the aesthetic with subjectively universal judgment. In his analysis of aesthetic relations. He opens up a space. For a theory of art that is free of historicism. Capable of engaging with noncanonical and non-Western arts.
By engaging with the ideas of Arthur Danto. Gérard Genette. Nelson Goodman. George Dickie and Rainer Rochlitz. Hence, and evoking a range of aesthetic experience. From Proust to King Kong to Japanese temple design. Beyond Speculation makes an original and engaging contribution to the development. Of the philosophy of culture.
Editor: Seagull Books
Georges Didi-Huberman (French Edition)
Questions posées aux fins d’une histoire de l’art.
Ce livre développe une critique posée et reposée à nos certitudes devant l’image. Comment regardons-nous ? Pas seulement avec les yeux. Pas seulement avec notre regard. Voir rime avec savoir. Ce qui nous suggère que l’œil sauvage n’existe pas. Nous embrassons aussi les images avec des mots. Avec des procédures de connaissance. Avec des catégories de pensée.
D’où viennent-elles, ces catégories ? C’est la question posée ici. La discipline de l’histoire de l’art. Le développement actuel. La finesse de ses outils. Son impressionnante capacité d’érudition. Sa prétention scientifique. Son rôle dans le marché de l’art – semble autoriser le ton de certitude si souvent adopté par les professionnels de l’art. Les savants de l’image. Or, qu’est-ce qu’un savoir lorsque le savoir porte sur ce Protée que l’on nomme une image ? La question exige de mettre à jour la “ philosophie spontanée ”. Les modèles discursifs mis en jeu lorsque nous cherchons. Devant un tableau ou une sculpture, à en tirer, voire à en soutirer une connaissance.
Entre voir et savoir se glissent souvent des mots magiques. Les philtres d’une connaissance illusoire. Ils résolvent les problèmes. Donnent l’impression de comprendre. Ces mots magiques, Vasari, le premier historien de l’art. Au XVIe siècle, en a inventé de fameux, qui traînent encore dans notre vocabulaire. Panofsky, le “ réformateur ” de l’histoire de l’art. Au XXe siècle, les a critiqués dans un sens à l’aide d’un outil philosophique considérable. La critique kantienne de la connaissance. Il les a restaurés dans un autre sens. Au nom de l’humanisme et d’un concept encore classique de la représentation.
C’est du côté de Freud que l’on a cherché ici. Les moyens d’une critique renouvelée de la connaissance propre aux images. L’acte de voir s’y est littéralement ouvert. C’est-à-dire déchiré puis déployé. Entre représentation et présentation. Entre symbole et symptôme. Et, pour finir, entre la notion habituelle du visible et une notion renouvelée du visuel. L’équation tranquille – métaphysique ou positiviste. Du voir et du savoir laisse place dès lors à quelque chose comme un principe d’incertitude. Quelque chose comme une contrainte du regard au non-savoir. Quelque chose qui nous met devant l’image comme face à ce qui se dérobe. Position instable s’il en est. Mais position qu’il fallait penser comme telle pour la situer malgré tout dans un projet de connaissance. Un projet d’histoire de l’art.
Editor: Collection Critique
Anne Creissels (French)
Anne Creissels est maître de conférences en arts plastiques
Agrégée d’arts plastiques. Docteure de l’EHESS (École des Hautes Études en Sciences Sociales.) en histoire et théorie des arts. Anne Creissels est maître de conférences HDR en arts plastiques à l’université de Lille 3. Ses recherches, à la fois théoriques et artistiques. Portent sur la survivance de mythes dans l’art contemporain et la mémoire inconsciente des images. Les représentations et constructions identitaires en jeu dans l’art. Le geste dansé dans sa dimension performative et son lien aux arts visuels.
According to the National Museum of Women in the Arts, 51 per cent of visual artists today are women. But when it comes to exhibitions and gallery representation, the numbers tell a less optimistic story. In London, for example, 78 per cent of the galleries represent more men than women, while only 5 per cent represent an equal number of male and female artists.
And beyond the statistics, women artists and curators face unique challenges, from the subjects they bring to light to the work they choose to present. As Tate Modern director Frances Morris has said, women have been discriminated against for centuries, and major institutions have typically failed to support the careers of women artists working on the margins. The number of women in the Tate collection is growing, and half the rooms in the Switch House are currently devoted to a sole female artist, but work remains to be done.
So what can we do to more fairly represent women in the arts? Should we strive for an equal split of men and women artists? Do we rewrite the history books? Or is some other way? Tell us what you think.
Aurélia de Sousa – (1866-1922)
Portuguese painter born in Valparaíso, Chile. Companion of Vincent van Gogh during his stay in Paris. She was a disciple of João Marques de Oliveira, who had a great influence on her style. From an early age she was linked to training processes in drawing and painting. She exhibited her first self-portrait in 1889. Her taste for this art led her to take courses in historical painting and she had the opportunity to study at the prestigious Académie Julien in Paris. He traveled across Europe. Visit various museums which fueled his passion for Flemish painting.
Sometimes he also worked on illustrations for different magazines. And on one occasion for a storybook called Perfis Suaves, written by Júlio Brandão. His style was influenced by innovative French painting and focused on a personal naturalistic style. With accents of realism. Impressionism or post-impressionism. He mainly paints landscapes. Portraits and scenes of everyday life. This is why one of his most famous works was painted in 1900, called Self-Portrait, in which he wears a red coat.
Alice Neel – (1900 – 1984)
Alice Neel is the epitome of this troubled artistic soul. Whose real trauma has shaped some of the most exhilarating paintings. Beautiful and somewhat eccentric to this day. Two perfect words to describe Neel and his work would be a haunting strangeness. Some of his paintings have been quite intimate and disturbing at the same time. Mainly because they were taken from his chaotic and tragic personal life. They offer a unique insight into the spirit of the artist who spoke primarily to the world through his work. For 40 years she worked in the dark before the world finally discovered her remarkable turn as an artist.
Pioneer among female artists.
Alice Neel was born in 1900 in Pennsylvania, USA, to a middle class family. Although she was born to a highly qualified accountant father. Neel was raised in a time when there weren’t many expectations. Or opportunities for women. Without her mother’s help, Neel took a civil service exam and ended up working as a highly paid public servant in order to support her family. Unbeknownst to them, the fact that Neel was also taking evening art classes at the School of Industrial Art. She finally enrolled in a real art school which graduated shortly thereafter. Today Neel is considered one of the great American painters of the 20th century and a pioneer among female artists. Neel’s approach to painting was on his own terms, while not choosing to belong to any art movement.
Portraits of black artists.
Neel was inspired by Spanish and Scandinavian paintings. Despite her unusual upbringing where women were not seen as having much of a future outside of domestic life. Neel grew up with a socially conscious mind. This is why most of his paintings feature women from all walks of life. As mothers, daughters. Workers. Actresses. Prostitutes and even officials. Soon Neel’s subjects began. Including the neighbors. Minority communities. Workers. The writers. Acquaintances and anyone she met mostly on the street. His famous works also included portraits of black artists. From supporters of women’s movements. Neel painted his objects as they were, hairless. Hairy. Fat. Thing, big, short, but they come to it. There was no pretension in Neel’s work.
One of his masterpieces, his portrayal of Andy Warhol is simply phenomenal. In the painting, Warhol is shown as content and absorbed in his own silence. Head to waist nude sitting on a couch. His typical capricious painting style is fully on display here. The heavy use of pastel colors and thick, wild black brushstrokes give Warhol an almost inhuman angle. Making him look taller than he actually was. Neel’s portrait of Andy Warhol is considered one of the greatest portraits of the 20th century. Alice Neel had the unique ability to bring out her subjects of awkwardness. Imperfections in a positive light through his paintings.
Women in art.
Charlotte Salomon – (Berlin, 1917 – Auschwitz, 1943)
Painter – Berlin (German)
From 1940 to 1942, between the ages of 24 and 26. The German artist Charlotte Salomon created “etwas ganz verrückt Besonderes” (“something really crazy special”). It was the product of the special. Crazy times and situation she found herself in. In 1939, because of the Nazis’ mounting persecution of Jews. Salomon had fled Berlin. Where she was the last Jewish student at the city’s art school.
She sought refuge in France with her grandparents on her late mother’s side in the region of Nice. On March 4th 1940. She watched helplessly as her grandmother threw herself from a window to her death. Only then did her grandfather reveal the family’s secret. She was the last survivor of a maternal line. All of whom had committed suicide over three generations. When she was eight, Charlotte had been told her own mother passed away from influenza. Now she learned the truth. That she too had jumped and killed herself.
In exile and solitude. Under the long shadows of this tragic heritage. And the immediate menace of Hitler’s forces. Salomon would barely eat. Drink or sleep to finish recording. Her family’s histories and her personal experiences. In an unprecedented magnum opus in pictures and words. It sprang from an outpouring. Of around one thousand gouache paintings on Canson paper. Made from only three primary colours. And clearly influenced by German Expressionists and Marc Chagall.
‘Life? or Theatre?’
From these, she edited 781 into ‘Ein Singspiel’. or a play with singing which she titled Leben? oder Theater? (‘Life? or Theatre?’). She opened with the suicide in 1913 of an Aunt Charlotte whom Salomon. Had learnt she was named after. Initially, she hand-lettered characters. Dialogues and thoughts and her narration. Musical and theatrical references onto separate libretto-like overlays. Gradually, her brushstrokes. Became more loose and she wrote more. And more texts directly onto, and into. Her images. The penultimate nine paintings. Are overwhelmed by her densely-packed third-person coda. Barely containing the emphatic brush capitals.
On October 7th 1943. Salomon, five months pregnant. And her companion were deported to Auschwitz and executed. Fortunately through her doctor. Her unseen masterpiece was preserved by her surviving father and stepmother. In 1971 they entrusted it to Amsterdam’s Jewish Historical Museum (where you can browse through them all online). The following year. This Museum exhibited for the first time 250 paintings, less than one third of Leben? oder Theater?. Further exhibitions, including a North American tour in 1983-4. And a showing at the Royal Academy, London in 1998-9, and various editions. Catalogues and a CD-Rom have to date given. A fuller but not complete impression of this oeuvre.
Women in art.
Paula Rego – (1935)
Painter – Lisbon (Portugal)
Born in Lisbon in 1935. Paula Rego left Portugal and Salazar’s oppressive dictatorship. As an adolescent to study in London where she has now lived for over fifty years. Trained at the Slade School of Arts. She rubbed shoulders with the likes of Francis Bacon. Lucian Freud. Frank Auerbach, and David Hockney. As a painter, she produces large pastel polyptychs with exceptional flair. Obsessed by a certain literature and cultural vision of the 19th century. Both realistic and imaginary. Like her fellow countryman and film director Manoel de Oliveira. Paula Rego intertwines these references (Jane Eyre. Peter Pan. Daumier. Goya. Lewis Carroll. Hogarth. Ensor. Degas, etc.) with strongly autobiographical elements and elements of real life.
That of the contemporary world and its social and political issues. With a contemporary twist. Dark narratives. Her paintings seem to be taken from a cruel tale and evoke women’s issues in strange scenes. Going against social codes.
Women in art.
Judit Reigl – (1923 – 2020)
Judit Reigl was born on May 1, 1923, in Kapuvár, Hungary. She studied painting at the Hungarian Academy of Fine Arts. Budapest where she was a student of István Szőnyi. She recieved a scholarship from the Hungarian Academy of Rome. And traveled to Italy from 1941 to 1946. In October 1948, she returned to Hungary. Which had been overtaken by a Soviet-style authoritarian regime. Determined to leave and after seven failed attempts. Reigl successfully crossed the Iron Curtain in March 1950. And a few months later arrived to Paris. She currently lives and works in Marcoussis.
In May 1954, fellow Hungarian painter Simon Hantaï took André Breton to Reigl’s studio. Breton immediately offered her a solo exhibition. Which she at first turned down, then accepted in November. The show took place at L’étoile scellée. Then the gallery of the Parisian Surrealist group, and was composed. Of both Reigl’s figurative and abstract works. After the exhibition, she dissolved her connections. With Breton and adopted a purely abstract and vigorously physical approach to painting. By hurling compounds of industrial pigment and linseed oil on the canvas and then molding them with various metal devices into explosive marks. She used her body as an instrument of painting.
Reigl’s works could be juxtapositioned with such star artists of the New York School. Like Jackson Pollock. Willem de Kooning. Mark Rothko or Clyfford Still. Her paintings are part of such public collections as the Metropolitan Museum of New York. The MoMA – New York. The Guggenheim Museum of New York.The Tate Modern in London and The Centre Pompidou in Paris among many others.
Women in art.
Jeanne Tripier – (1869-1944)
Painter, Art Brut, Textile, Embroidery (French)
Jeanne Tripier is considered part of the Art Brut canon. She lives in the district of Montmartre. Working as a saleswoman in a department store. At the age of fifty-eight she becomes fascinated with the doctrines of spiritualism. And begins to produce drawings. Embroideries, and works in crochet. Also writing texts. She regards all her creations as mediumistic revelations. In 1934, she is interned in the psychiatric hospital of Maison-Blanche. Where she continues her creative work. Frequently inserting little drawings in black. Violet, or blue ink into her texts. She might also add dyes, nail varnish, or sugar.
It is to the painter Jean Dubuffet that Jeanne Tripier owes her posthumous celebrity: the embroidery of “Jeanne Tri” is presented at Galerie Drouin (Paris, 1948-1949) and Galerie Cordier (New York, 1962). Jean Dubuffet acquired Tripier’s work for his Collection de l’Art Brut.
Most of his work is now part of the “Brut Art Collection” in Lausanne.
Letter from the psychiatric hospital (1936)– French Language
She says: “Do not think I’m crazy, and I’ll never be mad!”. In “The letter to the Economat”. Where she specifies her thoughts on the asylum in which she is interned (there is not enough food and the smell of places is untenable). She does not consider herself to be sick. And she feels like she is “buried alive” in these places.
Women in art.
Käthe Kollwitz – (1867-1945)
Sculptor, Painter – German
Born in the Prussian city of Königsberg (now Kaliningrad, Russia) in 1867. Käthe Kollwitz established herself in an art world. Dominated by men by developing an aesthetic vision centered on women. And the working class. Her representations of women. Including her frequent self-portraits. Effectively communicated her subjects. Predicaments during a period when women. Were still negotiating ways to represent themselves in the arts.
While her naturalistic style appeared out of touch. In an era that witnessed the birth of abstraction. Her depictions of universal human experiences. Given depth and emotional power through. Her dense networks of lines and light and dark contrasts. Were also reflective of her time. The loss of her son during World War I. For instance, led to a lifelong exploration of the subject of mourning. She also found many of her motifs in her husband’s medical clinic for workers. And people in need, where she also kept her studio.
Women in art.
Berenice Abbott – (1898-1991)
Photographer – USA
Berenice Abbott was an American photographer. Known for her portraits and documentary photographs which stressed the communicative. Even educational value of the photographic print. She pursued a realist vision in recording history. And her own historical experience in order to potentially affect change in her audience. Her photographs purposely facilitated the interaction and dialogue between the photographer. The photographic print, and the viewer.
Abbott’s realist approach to photography. Stems from her career as a portrait photographer in Paris. As well as the influence of Eugène Atget’s photographic realism. After eight years in Paris, Abbott moved to New York in 1929 to document the modern transformation of the city. The resulting book Changing New York (1935-1938) .Received critical acclaim and has continued to resonate to this day.
Women in art.
Meret Oppenheim – (1916- 1985)
Painter and Sculptor – Swiss/German
Meret Oppenheim’s notebook from high school math class contains the following equation. “X= an Orange Rabbit”. André Breton (the pope of Surrealism) loved this so much he published the whole notebook. With the looks of a Hollywood film star. And the brain of a mad scientist, Oppenheim managed to persuade the Surrealists to allow her to join their circle (which until then was strictly no-girls-allowed). Her fetishistic sculptures. Fashioned from teacups, fur. High heels and other feminine domestic objects. Address the themes of food. Sex. Death, cannibalism and bondage. Always with a mischievous twist. Her famous fur-lined teacup was instantly embraced by the Surrealists. As the quintessential expression of their movement.
Women in art.
Hilma af Klint – (1862-1944)
Painter – Swedish
Paradoxically delicate and powerful. The art of Hilma af Klint quietly and privately delivers a loud and essential message. Creating abstract canvases five years prior to the first by Wassily Kandinsky. And experimenting with writing and drawing guided by the unconscious decades before the Surrealists. The woman was a pioneer. Described as a mystic and a medium. Af Klint conducted séances and communicated with spirits. Even receiving a message from higher forces to create her most notable. Devotional body of work, Paintings for the Temple.
Yet, af Klint’s sensitivity surrounding the ethereal was married to an analytical. And scientific way of navigating the world. She was an eager botanist. Well read in natural sciences and in world religions. With unsurpassed wisdom and in anticipation of human foolishness. Not only did af Klint state that her work was not to be shown for 20 years following her death. But she also stipulated that no work could be sold separately. Ensuring that her artworks could not become misunderstood commodities.
Women in art.
Maruja Mallo – (1902-1995)
Painter – (Spain)
Maruja Mallo was born in Viveiro (Lugo) in 1902. Her real name was Ana María Gómez González. In 1922 she moved to Madrid with her family. She studied at the San Fernando Royal Academy of Fine Arts. Where she met Salvador Dalí, who introduced her to the world of Surrealism and the Generation of ’27. She illustrated poems by Rafael Alberti, such as “La pájara pinta”. In 1927 she met Ortega y Gasset, and worked as an illustrator for “Revista de Occidente”.
Her first solo exhibition took place in the halls of said publication. And proved to be very successful. In the 1930s she travelled to Paris, where she met André Breton. Amongst others, and her work became immersed in Surrealism. Back in Spain she worked as a teacher. When the Spanish Civil War broke out, she was exiled to Argentina. In 1939 she painted her most important work. “El canto de la espiga”. She returned to Spain in the 1960s. She died in Madrid in 1995.
Women in art.
Berthe Morisot – (1841-1895)
Painter – (French)
Berthe Morisot, (born January 14, 1841, Bourges, France—died March 2, 1895, Paris). French painter and printmaker who exhibited regularly with the Impressionists and. Despite the protests of friends and family. Continued to participate in their struggle for recognition.
The daughter of a high government official (and a granddaughter of the important Rococo painter Jean-Honoré Fragonard). Morisot decided early to be an artist and pursued her goal with seriousness and dedication. From 1862 to 1868 she worked under the guidance of Camille Corot. She first exhibited paintings at the Salon in 1864. Her work was exhibited there regularly through 1874. When she vowed never to show her paintings in the officially sanctioned forum again. In 1868 she met Édouard Manet. Who was to exert a tremendous influence over her work. He did several portraits of her (e.g., Repose, c. 1870). Manet had a liberating effect on her work. And she in turn aroused his interest in outdoor painting. In 1874 she married Manet’s younger brother, Eugène, also a painter.
Women in art.
GERTRUDE ABERCROMBIE – (1909-1977)
Painter – (Chicago- USA)
Gertrude Abercrombie was an American painter known for her modestly scaled Surrealist works. Abercrombie’s motifs included owls. Moonlit landscapes, and cats, as seen in her work. The Courtship (1949).Wwhich she painted in a controlled palette of colors. “I am not interested in complicated things nor in the commonplace, I like to paint simple things that are a little strange.” she once explained. “My work comes directly from my inner consciousness and it must come easily.” Born on February 17, 1909 in Austin. TX, her parents worked for an opera company that traveled around America and Europe. Her family returned to the United States from Berlin after the outbreak of World War I. Eventually settling in Chicago. She went on to study languages at the University of Illinois. And attended classes at the School of the Art Institute Chicago. During the 1930s,
Abercrombie became friends with a number of jazz musicians including Charlie Parker and Dizzy Gillespie. And often hosted music sessions and parties in her home. Though Abercrombie didn’t pay much attention to the art of her time. She did cite René Magritte as an important influence on her practice. The artist died on April 3, 1977 in Chicago, IL. Today, Abercrombie’s works are held in the collections of the Smithsonian American Art Museum in Washington, D.C. The Milwaukee Art Museum, and the Museum of Contemporary Art in Chicago, among others.
Women in art.
Louise Nevelson (1899–1988)
Painter, Sculptor – (Ukraine)
Louise Nevelson (1899–1988), an artist best known for her monochromatic wooden sculptures, produced a distinctive body of works on paper over the course of her long career. Drawn entirely from the Whitney’s collection, this exhibition follows her work in drawing, printing, and collage, from her early focus on the human body through her progression into abstraction.
Nevelson frequently used unconventional or recycled materials. In her prints, she layered scraps of fabric to create deeply textured environments containing mystical figures and architectural forms. Her paper collages, like her sculptures assembled from wooden objects, reconfigure the disparate materials from which they are composed, including scraps of paper and foil, into unified, unexpected compositions. Interested in the physical constraints of objects, Nevelson sought to transform the materials that she used and the subjects that she depicted. She believed that art could reorient one’s relationship to the built and natural world, challenging us to see our environments differently through her work.
Women in art.
Edith Sitwell – (1887-1964)
Writer, Poetess – English
British poet Edith Sitwell was a striking woman—not necessarily for her height (although at six feet tall, she did have a commanding presence); not even for her fashion choices, which are oft described as “dramatic.” She was best known as a talented, and creatively challenging wordsmith, one whose work shattered the established norms of her medium.
Sitwell lived an unusual life. Born in 1887 to an aristocratic family, her relationship with her parents was cold at best, though she was very close to her two younger bothers, Osbert and Sacheverell (both writers as well). The Sitwells (as the siblings became known) were not only members of the arts, but supporters of it, with Edith in particular supporting other poets.
Her earliest work was published in 1913. But perhaps what truly earned her the titled of avant-garde artiste was “Façades”. Which featured her poems set to music. To be clear, these were not songs. The poems were spoken (preformed theatrically. Although not sung, a major difference), and timed to musical arrangements by her collaborator. William Walton, for emphasis. Apparently her first performance of these works was met with dismissal. But in her later years Sitwell proved that she was one who wouldn’t let criticisms deter her, saying in an interview.
“I absolutely refuse to be taught my job by people who know absolutely nothing about it. Also, I have devoted my whole life to writing poetry, which is, to me, a form of religion, and I’m not going to be taught by people who don’t know anything about it. I think it’s very impertinent. I mean, I don’t teach plumbers how to plumb.”
Of course, anyone who saw her would immediately be able to see that Sitwell was not the type to hold back, or be anyone other than exactly who she was. She was bold in how she dressed, choosing to adorn herself in lavish clothing and jewelry.
“I can’t wear fashionable clothes,” she once explained. “I’m a throwback to remote ancestors of mine. And I really would look so extraordinary if I wore coats and skirts. I would be followed for miles and people would doubt the existence of the almighty if they saw me looking like that.”
Sitwell’s uniqueness and commitment to exploring her creative passions (both poetically and fashionably) ensured an identity for herself outside that of her aristocratic family name. And though we take for granted now the avenues of self expression we have, Sitwell’s triumph of distinguishing herself as an individual is nothing short of marvelous.
Women in art.
MARTHA GRAHAM – (1894-1991)
Dancer – USA
Martha Graham was the dancer of the century—not only according to Time magazine in 1998—but because she’s revolutionized dance as we know it. She was the first dancer to be invited to perform at the White House, and was awarded the Medal of Freedom in 1976. She was even immortalized in photographs by Irving Penn and Andy Warhol. But what made Graham such an icon?
For one, her unique approach to dance was ground-breaking. After founding her namesake dance company in 1926, Graham became known for challenging choreography that saw dance as an act of artistic expression. Bette Davis, Madonna, and Liza Minelli were among those who flocked to Graham to learn how to move. Her style—which created a narrative through emotional movements—was perfect for actors who sought to convey their characters through more than just line readings.
But it wasn’t just technique that made Graham noteworthy (although it cannot be understated how her style truly modernized the world of dance). As a choreographer, Graham collaborated with composers and set designers to create the aesthetic world for her creations. Meanwhile her costumes, which were minimalist in design and would often feature floor-length skirts, not only highlighted her movements, but sometimes acted as an extension of her body—a way for her to craft shapes and play with the human form, as seen in her dance “Lamentation.” Not one to miss an opportunity to collaborate with other artists, Graham worked with fashion designers like Calvin Klein and Halston (who also supported the Martha Graham Center for Contemporary Dance) over the years.
What arguably made Graham truly modern, however, was how many of her pieces were focused on contemporary issues in society and politics. It was this line of creation that elevated her work to the level of important cultural commentary, proving that dance had its place among other art forms as a powerful tool of expression. Though she passed away in 1991, Graham’s legacy lives on not only through her dance company(which still performs today), but also through her establishment of dance and movement as an incredibly beautiful, and deeply human, act.
Women in art.
GEORGIA O’KEEFFE – (1887-1986)
Painter – USA
Georgia O’keeffe Born in Wisconsin in 1887, O’Keeffe’s early career was fraught with financial issues, forcing the painter to teach art classes in order to fund her own education. During this time she had been trained as a realist, but her style was forever changed in 1912 when she studied under Arthur Wesley Dow, who taught her to favor stylistic interpretations over literal ones. She immediately began to pursue abstraction, making her one of the first American artists to embrace the style.
In 1915, at the age of 28, she had a fateful career breakthrough: She mailed some of her new abstract charcoal works to a friend in New York, who showed them to the revolutionary photographer Alfred Stieglitz. He was so taken with them that a year later, Stieglitz organized a solo show for O’Keeffe, and by 1918, she accepted his invitation to move to New York and pursue her career full time.
It was during this time that began what would be the body of work for which she was most remembered: her flowers. Oversized and close-cropped (so as to draw attention to such small, delicate details), the paintings reshaped ideas of what a still life could be. Notably, many critics and fans have drawn comparisons between some of her flowers (specifically paintings such as Black Iris III and Series I White and Blue Flower Shapes) and female genitalia. Though she has denied that there was any sexual symbolism in her paintings, the idea endures today. “When people read erotic symbols into my paintings they’re really talking about their own affairs,” she has said of the works.
For a time, Stieglitz and O’Keeffe were partners both creatively and romantically (they were married in 1924): she played muse and appeared nude in many of Stieglitz’s photographs (which was a bit scandalous at the time), while he used his influence to support her art. Through her images of flowers and the New York City skyline she became one of America’s most prominent living painters. By 1927, she had her first career retrospective at the Brooklyn Museum, the first of many in major museums across the country.
In 1929, O’Keeffe made a trip to New Mexico that would be the first step in a new direction. Leaving New York (and her deteriorating personal relationship with Stieglitz) behind, she took inspiration from her new surroundings, pairing landscapes with the skulls of long-dead animals to create famous works such as Cow Skull: Red White and Blue, and Ram’s Head White Hollyhock and Little Hills (both from the 1930s). Blending still life and landscapes, this new creative path showcased symbols of the Southwest in an arguably feminine way. Her light brush applications, and the occasional instance of flowers added to the animal skulls and softened what were once emblems of the harsh nature of the desert. By 1949, she moved to New Mexico permanently, splitting her time between two properties, both of which are now owned by the Georgia O’Keeffe Museum.
Though she is often lauded as a feminist artist, O’Keeffe actually rejected the title. In fact, she rejected any title that denoted her gender, wanting simply to be referred to as an “artist” (which, in a roundabout way, was a feminist statement in and of itself). Regardless of this discrepancy, O’Keeffe’s legacy is that she has become the definitive example of the Modern American Woman. More so than just the work she created, O’Keeffe crafted a public image that felt wholly new for the times. She had a presence that commanded attention in a way that no photographer—not even Stieglitz—could alter. She was always herself, a theme that persisted throughout her life. O’Keeffe made no declarations about who she wanted to be, or what she wanted to accomplish—she simply was. Somehow, that act of being herself remains a modern idea to this day.
Women in art.
Louise Bourgeois – (1911-2010)
Sculptor, painter – French
Louise Bourgeois Born in 1911 to an art-appreciative family (her parents owned a gallery that specialized in tapestry restoration). Bourgeois initially studied mathematics and geometry. But in 1932—two years into her studies—her mother passed away.Ddriving the young girl into the world of art. Where she could express herself. Her mother (for whom she associated the image of the spider with) would become one of her main sources of inspiration. As well as her childhood, and, eventually, her children.
Though Bourgeois never took to the “feminist artist” label. It is often considered an element of her reputation. Not only because of her of accomplishments—or her outspoken natur— but because her work so often dealt with issues related to the female experience: Birth. Motherhood. Sexuality, and societal expectation. This is perhaps most clearly expressed in Femme Maison. A series of paintings from the 1940s that feature nude women with houses for heads. The pieces can be read as both a comment on how the home is a woman’s space. But also, perhaps, a woman’s prison.
Though she worked fairly consistently over the decades (according to the Museum of Modern Art in New York. She slowed down in the 1950s and early ‘60s when her focus shifted to psychoanalysis). Bourgeois did not receive widespread notoriety until the 1980s. In 1982, she held her first retrospective at the museum. Though in her 70s and with years of work already behind her. Bourgeois still had decades of creativity in her.
Arch of Hysteria.
By the ‘90s she had created not only Maman. But another iconic modern sculpture. Arch of Hysteria, a gold, headless figure strung from the ceiling by the pelvis. Though clearly human. It is also so hard and metallic. That one can’t help but be drawn in. Almost hypnotically, to how it gleams. What does it say that we’re so eager to ignore the somewhat macabre nature of a sculpture just because it’s shiny?
“It is not an image I am seeking. It’s not an idea. It is an emotion you want to recreate. An emotion of wanting, of giving, and of destroying”. She has said of her more abstract work. But it’s a quote that is applicable to much of her oeuvre. What we feel when we see her pieces—attraction. Wonder. Horror. Anger—is a testament to her talent as an artist. And part of what has continued to keep even her earliest work relevant. Bourgeois’ art doesn’t just challenge to consider its themes. It invites us to connect with them.
Women in art.
Paula Modersohn-Becker – (1876-1907)
Painter – German
Paula Modersohn-Becker. Original name Paula Becker, (born February 8, 1876, Dresden, Germany—died November 30, 1907, Worpswede). German painter who helped introduce into German art the styles of late 19th-century. Post-Impressionist painters such as Paul Cézanne. Paul Gauguin, and Vincent van Gogh.
Becker was interested in art at an early age and began to study drawing in 1888. When her family moved to Bremen, Germany. Sent to England to complete her education. She attended St. John’s Wood School of Art. Upon her return to Germany. The artist trained to become a teacher. And then attended (1896–98) the traditional School for Women Artists in Berlin.
In 1898, as a pupil of Fritz Mackenson. Becker joined the Worpswede school. A group of regional artists who lived at an artists colony near Bremen. Like many of the painters there. She created sentimental landscapes and scenes of peasant life. At Worpswede she formed a friendship with the sculptor Clara Westhoff (who later married the poet Rainer Maria Rilke). In 1900 they traveled together to Paris. She was influenced by the Post-Impressionist paintings of Paul Cézanne.
In 1901 the artist married Otto Modersohn. Another painter at Worpswede. She spent two more periods of study in Paris in 1903 and 1905. And the contemporary art she discovered there made her increasingly dissatisfied. With the aims of the Worpswede artists. The work of Cézanne. Gauguin. and other French artists. Such as those of the Nabis group. Inspired her to use simplified forms and symbolic. Rather than naturalistic, colour. She left her husband in 1906 to settle in Paris. Where she painted the expressive and often nude self-portraits. That are her most highly regarded works. Her husband followed her there later that year. She returned to Worpswede with him in 1907.
Modersohn-Becker’s style continued to evolve. In her mature paintings. Such as Self-Portrait with a Camellia (1907). She combined a lyrical naturalism. With broad areas of simplified colour reminiscent of Gauguin and Cézanne. Because she was more interested in the expression of her inner feelings. Also, Than in an accurate portrayal of reality. She is frequently associated with the Expressionist style. She died shortly after giving birth to her only child.
Paula Modersohn-Becker. (1876-1907)
Women in art.
BARBARA HEPWORTH – (1903-1975)
Sculptor – England
What is the meaning of sculpture?” The legendary sculptor Barbara Hepworth mused in 1959. “When we are all conscious of the expanding universe. The forms experienced by the sculptor should express not only this consciousness but should. I feel, emphasize also the possibilities of new developments of the human spirit. So that it can affirm and continue life in its highest form.
“They are illuminating words from an artist. Whose work is not easy to label as just “abstraction.” Producing rounded forms of varying sizes. Hepworth’s sculptures seem as if they’ve been frozen in a moment. Like transitioning organic forms that were in a state of motion, no more. As many historians have pointed out. Hepworth’s work was just as much about form as it was about relationships. Not just in subject matter. But in how the pieces related to the spaces they were in. And in turn, how the viewer reacted to them.
Mother and Child
With that in mind. It should come as no surprise. That as her career progressed she was increasingly inspired by the outdoors. And her work became more and more abstract. Take for example. Her “Mother and Child” sculpture from 1927. Which clearly showed two human figures. And compare it to “Mother and Child” from 1934—there is a significant shift in her style. The latter focusing much more on the concept rather than a realistic depiction. “Child with Mother” from 1972. Moves even further away from recognizable forms. What remains constant in her work is a sense of tactility. Working with steel, stone. Bronze, and wood. Hepworth’s pieces relied on materials that could translate. The gravitas her work required to stand in nature.
“I think every sculpture must be touched. It’s part of the way you make it and it’s really our first sensibility. It is the sense of feeling. Also, first one we have when we’re born”. She has said of how she wants people to appreciate her work. “I think every person looking at a sculpture should use his own body. You can’t look at a sculpture. If you are going to stand stiff as a ram rod and stare at it. with as sculpture you must walk around it, bend toward it, touch it, and walk away from it.”Unsurprisingly, she created a sculpture garden at her studio. Which is still open today.
Though sculpture wasn’t Hepworth’s only form of expression (she produced drawings, paintings. And in her later years experimented with lithographs). It is certainly what she is remembered for. Born in 1903 in Yorkshire. She attended the Leeds School of Art on scholarship at 17. Where she soon met her friend (and eventual professional rival) Henry Moore. Hepworth continued to earn scholarships. Which took her to the Royal College of Art, and Florence. By 1949. She settled down in St Ives, living in Trewyn Studios. Where she remained until her death. Today. Her work continues to be displayed at Trewyn Studios. And publicly all over the world—including outside the United Nations Secretariat building in New York City.
What is perhaps most interesting about Hepworth. (One of the most respected artists in her time). Also, is not only how she triumphed as a woman in a male-dominated field. But that she did not acknowledge a linguistic distinction. That separated her from her peers. As the art historian Alan Bowness noted. She “asked simply to be treated as a sculptor (never a sculptress)”. Dismissing the notion that women in any field need a signifier of their gender. In this regard. Hepworth leveled the playing field. Proving that she was creatively equal. And demanding that her legacy be part of art history—not just women’s art history.
Caste: the origins of our discontent Isabel Wilkerson (USA)
Exactly a decade after releasing The Warmth of Other Suns. His take on how the Great Migration transformed America. Isabel Wilkerson is revolutionizing the way we view breed with Caste. The Origins of Our Discontents. At the same time history, sociology and narrative. Caste argues that American society is a hierarchical culture. Resembling the caste systems seen in India and Nazi Germany. Just as captivating as his first study. Wilkerson is once again changing the way we understand America.
Editor : Random House
Memorial Drive: A Daughter’s Memoir
Natasha Trethewe (USA)
This slim volume hides a monumental story of pain and redemption. In 1985, Natasha Trethewey’s mother was murdered by her second abusive ex-husband. In Memorial Drive, the Pulitzer winner and former American poet laureate recounts a childhood in love. Fractured by her parents’ divorce. Racism embedded in every fragment of life in the Deep South and its memories of guilt. From fear over the years and years. the months before and after the death of his mother. Dazzling and at times dreamlike, Memorial Drive is a masterpiece of memory. A requiem and a document of absolution that are etched in your memory.
Editor : Ecco (2020)
Daisy Jones & The Six
Taylor Jenkins Reid (USA)
Daisy is a girl who comes to adulthood in the late 1960s. As a result, she sneaks into the Sunset Strip clubs. Layer of rock stars and especially she dreams of singing at Whiskey a Go Go. In addition, sex and drugs are exciting. However, it’s the rock ‘n’ roll she likes the most. After that, when she is twenty, her voice begins to be noticed. In addition, she has the kind of carefree beauty that makes people crazy.
Editor : Large print edition (March 5, 2019)
Machine Like Me
Ian McEwan (English)
What privacy can you have with a robot? In McEwan’s latest novel. Indicate all the boundaries that surround you. Who to love. With whom to sleep and how to be challenged in this love triangle between two humans and a robot. also, When Charlie, passionate about technology. Drop his inheritance on a robot named Adam. He invites Miranda. The woman who interests him, to collaborate with his personality. Together, they create the seemingly perfect man. Whose growing intelligence is accelerating the tension between them all.
Editor : Nan A. Talese (April 23, 2019)
Maria Popova (Bulgaria)
Figuring explores the complexities of love. From the human quest for truth As well as the links between the interconnected lives of several astronomers. Johannes Kepler, who discovered the laws of planetary motion. At that concluded with marine biologist and author Rachel Carson. Which catalyzed the environmental movement.
Editor : Pantheon (Feb 5, 2019)
Las Putas No Van Al Cielo
Cristina Merelli (Argentina)
Las putas no van al cielo de Cristina Merelli La Rita, la Adelina, el Ricky, los mellizos Tabaré. El viejo Tabaré. La Chusca. La Rusita. Pinto, el hijo de la alemana. mujeres, hombres y fantasmas sosteniendo “La Ensoñación”. Un prostíbulo que fue cuna y tumba de todos los cuerpos usados. De todos los cuerpos malqueridos. “… me la imaginaba como una escultura adornando algún lugar del patio y lo que encontré fue una sombra negra, flaca, reseca.
Yo no lloré.
Estaba sacando agua de la bomba. Cuando me dijo buen día. Del hueco oscuro de la boca no se le escapó ningún destello de oro. La boca de la Chusca era una tumba profanada. —Cuando las chicas me entraron a caer con nietos. Tuve que ir vendiendo los dientes para poder alimentarlos —me dijo cuando entramos en confianza. No lloré. Había tanta miseria en esa casa que llorar por un muerto hubiera sido un sacrilegio. La Chusca armaba cigarrillos de palitos y hojas picadas, y las manos le temblaban como pajaritos con frío”
Editor : Vela al viento. Ediciones Patagónicas.
Libby Page (English)
Rosemary has lived in Brixton all her life. But everything she knows is changing. Only the local lido, where she swims every day. Remains a constant reminder of the past and her beloved husband George.
Kate has just moved and feels adrift in a city that is too big for her. She’s on the bottom rung of her career as a local journalist. And is determined to make something of it.
So when the lido is threatened with closure. Kate knows this story could be her chance to shine. But for Rosemary, it could be the end of everything. Together they are determined to make a stand. And to prove that the pool is more. Than just a place to swim – it is the heart of the community.
The Lido is an uplifting novel about the importance of friendship. The value of community, and how ordinary people can protect the things they love.
Editor : Orion
Auður Ava Ólafsdóttir (Icelandic)
His wife has left him. His mother is slipping deeper into dementia. And his daughter is no longer who he thought. So he comes up with a foolproof plan. To buy a one-way ticket to a chaotic, war-ravaged country and put an end to it all.
But on arriving at Hotel Silence. He finds his plans – and his anonymity – begin to dissolve under the foreign sun. Now there are other things that need his attention. Like the crumbling hotel itself, the staff who run it. And his unusual fellow guests. And soon it becomes clear that Jónas must decide whether. He really wants to leave it all behind. Or give life a second chance, albeit down a must unexpected path.
Editor : Pushkin Press
Dirk Kurbjuweit (German)
An acclaimed German writer. Makes his American debut with this gripping. And sophisticated thriller reminiscent of The Dinner and the early novels of Ian McEwan. About the murder of a neighbor who had been harassing a middle-class family. And the relative imprisoned for the crime.
Randolph Tiefenthaler insists he had a normal childhood. Though he grew up with a father who kept thirty loaded guns in the house. A modestly successful architect with a wonderful family. A beautiful home, he soon finds his life compromised when his father. A man Randolph loves yet has always feared, is imprisoned for murder.
Editor : Harper
Diana Evans (English)
South London, 2008. Two couples find themselves at a moment of reckoning. On the brink of acceptance or revolution. Melissa has a new baby and doesn’t want to let it change her but. In the crooked walls of a narrow Victorian terrace. She begins to disappear. Michael, growing daily more accustomed to his commute. Still loves Melissa but can’t quite get close enough to her to stay faithful. Meanwhile out in the suburbs. Stephanie is happy with Damian and their three children. But the death of Damian’s father has thrown him into crisis – or is it something. Or someone, else? Are they all just in the wrong place? Are any of them prepared to take the leap?
Editor : Vintage
Turtles All the Way Down
John Green (USA)
Sixteen-year-old Aza never intended to pursue the mystery of fugitive billionaire Russell Pickett. But there’s a hundred-thousand-dollar reward at stake. And her Best and Most Fearless Friend. Daisy, is eager to investigate. So together, they navigate the short distance. And broad divides that separate them from Russell Pickett’s son, Davis.
Aza is trying. She is trying to be a good daughter. A good friend, a good student, and maybe even a good detective. While also living within the ever-tightening spiral of her own thoughts.
In his long-awaited return, John Green, the acclaimed. Award-winning author of Looking for Alaska and The Fault in Our Stars. Shares Aza’s story with shattering, unflinching clarity in this brilliant novel of love. Resilience, and the power of lifelong friendship.
Editor : Dutton Books
Fashion Climbing: A Memoir with Photographs
Bill Cunningham (USA)
For Bill Cunningham. New York City was the land of freedom. glamour, and, above all, style. Growing up in a lace-curtain Irish suburb of Boston. secretly trying on his sister’s dresses . And spending his evenings after school in the city’s chicest boutiques. Bill dreamed of a life dedicated to fashion. But his desires were a source of shame for his family. And after dropping out of Harvard. He had to fight them tooth-and-nail to pursue his love.
Editor : Pinguin Press
Gaël Faye (French Author)
Burundi, 1992. For ten-year-old Gabriel, life in his comfortable expat neighbourhood of Bujumbura with his French father. Rwandan mother and little sister. Ana, is something close to paradise. These are happy, carefree days spent with his friends sneaking cigarettes. And stealing mangoes, swimming in the river and riding bikes in the streets. They have turned into their kingdom. But dark clouds are gathering over this small country. And soon their peaceful idyll will shatter when Burundi. And neighbouring Rwanda are brutally hit by war and genocide.
Editore : Hogarth
American Like Me : Reflections on Life Between Cultures
America Ferrera (USA)
In this timely collection of essays. Emmy-winning actress and political activist America Ferrera mines her own cross-cultural Honduran. And American upbringing and gathers thirty-one influential friends and change-maker—such. As Lin-Manuel Miranda. Roxane Gay. Issa Rae. Kumail Nanjiani, and Uzo Aduba—to talk about what it’s like to be an immigrant. A child or grandchild of immigrants. An indigenous person, or someone with deep connections to more than one culture. Even though this anthology speaks to the American experience. The themes of belonging and identity will hit home. For anyone who’s ever felt torn between two cultures. Or two places equally dear to them.
Editor : Gallery Books
Sofija Stefanovic (Serbian/Australian author)
If you’re going to have the audacity to document a beauty contest. That pits immigrants and refugees from different sides of a conflict against each other for your film class. It seems only fair to compete yourself. That’s exactly what led Serbian-born Stefanovic to strut. Her stuff alongside her fellow contestants from Bosnia. Croatia. Macedonia. Montenegro, and Slovenia for the title of Miss Ex-Yugoslavia.This stand-out memoir chronicles Stefanovic’s life from her childhood to early twenties. Coming back and forth between Yugoslavia and Australia during the Yugoslav wars. The contrast between the Belgrade streets (where she once encountered a tiger cub being walked on a leash). To the ant hill-pocked back yard in Whyalla. South Australia (a remote town known for its BHP steel factory) ensures that Stefanovic’s story is as unique and wacky as it is important.
Editore : Atria Books
Nico Walker (USA)
Nico Walker wrote this edgy novel on a typewriter from inside a Kentucky federal prison. Where he’s currently serving an 11-year sentence for bank robbery. The young protagonist in Cherry is an Army Medic (just like Walker was) who returns from Iraq’s war zones with severe PTSD. To cope, he turns to drugs—just as the opioid crisis is ravaging the Midwest. When the money runs out. He turns to robbing banks. Walker’s raw confessional novel, aptly compared toJesus’ .Son and Reservoir Dogs, is a devastating example of art imitating life.
Editor : Alfred A. Knopf
A Strangeness in My Mind
Orhan Pamuk (Turkish author)
Arriving in Istanbul as a boy. Mevlut Karataş is enthralled by both the old city that is disappearing. And the new one that is fast being built. He becomes a street vendor, like his father. Hoping to strike it rich, but luck never seems to be on Mevlut’s side. He spends three years writing love letters to a girl. He has seen just once, only to elope by mistake with her sister. Although he grows to cherish his wife and the family they have together. Mevlut stumbles toward middle age as everyone around him seems to be reaping. The benefits of a rapidly modernizing Turkey. Told through the eyes of a diverse cast of characters. In A Strangeness in My Mind Nobel-prize-winning author Orhan Pamuk paints a brilliant tableau. Of life among the newcomers who have changed the face of Istanbul over the past fifty years.
Editor : Faber & Faber Libri
La Luz negra, (Spanish Edition)
Maria Gainza – (Argentine author)
This is a novel set in the art world of Buenos Aires. A novel about counterfeiters and falsifiers. The narrator, an art critic who worked for an appraiser through whose hands they passed faked works. tells a story starring a character called La Negra. Who falsifies paintings by painter Mariette Lydis.
Editor : Editorial Anagrama
Where Shall We Run To?
Alan Garner (England)
The war went. We sang in the playground, Bikini lagoon. An atom bomb’s boom, and two big explosions. David’s father came back from Burma and didn’t eat rice. Twiggy taught by reciting The Pied Piper of Hamelin, The Charge of the Light Brigade. And the thirteen times table. Twiggy was fat and short and he shouted. And his neck was as wide as his head. He was a bully, though he didn’t take any notice of me.
Editor – Fourth Estate
Anna Burns (Ireland)
In this unnamed city, to be interesting is dangerous. Middle sister, our protagonist. Is busy attempting to keep her mother from discovering her maybe-boyfriend. And to keep everyone in the dark about her encounter with Milkman. But when first brother. In-law sniffs out her struggle. And rumours start to swell, middle sister becomes ‘interesting. The last thing she ever wanted to be. To be interesting is to be noticed and to be noticed is dangerous.
Editor – Faber & Faber
Michael Ondaatje (US)
In a narrative as beguiling and mysterious as memory itself. Shadowed and luminous at once. We read the story of fourteen-year-old Nathaniel. And his older sister, Rachel. In 1945, just after World War II. They stay behind in London when their parents move to Singapore. Leaving them in the care of a mysterious figure named The Moth. They suspect he might be a criminal. And they grow both more convinced and less concerned. As they come to know his eccentric crew of friends.
During the war.
Men and women joined by a shared history. Of unspecified service during the war. All of whom seem, in some way. Determined now to protect. And educate (in rather unusual ways) Rachel and Nathaniel. But are they really what and who they claim to be? And what does it mean when the siblings’ mother returns after months of silence. Without their father. Explaining nothing, excusing nothing? A dozen years later. Nathaniel begins to uncover all that he didn’t know. And understand in that time. And it is this journey–through facts, recollection, and imagination. That he narrates in this masterwork from one of the great writers of our time.
Editor – McClelland & Stewart Inc
Simone van der Vlugt ( Dutch Author)
From Simone Van Der Vlugt comes her European bestselling novel of a young woman’s rise as a painter in Holland’s Golden Age. Perfect for readers of The Miniaturist.Tulip Fever, and Girl with a Pearl Earring.
Amsterdam 1654. Against the backdrop of Holland’s Golden Age. A dangerous secret threatens to destroy a young widow’s new life.
Following the sudden death of her husband. Twenty-five-year old Catrin leaves her small village. And takes a job as a housekeeper to the successful Van Nulandt merchant family. Amsterdam is a city at the peak of its powers. Science and art are flourishing in the Golden Age. And Dutch ships bring back exotic riches from the Far East. Madam Van Nulandt passes her time taking expensive painting lessons from a local master. Rembrandt van Rigin. And when Catrin takes up a brush to finish some of her mistress’s work. Rembrandt realizes the maid has genuine talent. And encourages her to continue.
When a figure from her past threatens her new life. Catrin flees to the smaller city of Delft. There, her gift as a painter earns. Her a chance to earn a living painting pottery at a local workshop. Slowly, the workshop begins to develop a new type of pottery. To rival fancy blue-on-white imported Chinese porcelain. And the graceful and coveted Delft Blue designs she creates help revolutionize the industry. But when tragedy strikes. Catrin must decide whether to defend her newfound independence. Or return to the village that she’d fled.
Editor : Ambo Anthos Uitgevers
Giacomo Sartori (Italian Author)
Incipit: «Il mio lavoro consiste nel fare buche nella terra. Buche grandi e profonde. In cui ci entra comodamente una persona. Poi appunto ci entro dentro. Mi ci seppellisco, si potrebbe dire. Però a differenza di un vero seppellimento nessuno poi aggiunge altra terra tra me e lo scavo. Contrariamente a un vero funerale posso muovere le braccia. Posso respirare come voglio. Venire fuori quando ho finito. Guardare un rettangolo di cielo. Parlare. Posso urlare la mia gioia. Ammesso e non concesso che abbia della gioia in sopravanzo. Quando ho finito esco, e torno a casa mia. E poi comunque a differenza dei morti veri e propri non mi sdraio. Sto in piedi.»
Autismi sono recitativi d’autore alle prese con la crudeltà quotidiana dei nuovi lessici famigliari. Giacomo Sartori indaga con uno humour sferzante. Uno dopo l’altro i teatri e le messe in scena dell’esistenza spostando ogni volta più lontano la soglia della verità insostenibile.
Le parole care.
I gesti gentili. Perfino gli sguardi di chi veglia su un defunto parente suggeriscono stati mentali parossistici. E nello stesso tempo struggenti. Un’opera. Una galleria di ritratti storpiati da sentimenti non espressi. Quello della sorella. Quello della propria città. Profondissimo quello del suocero. In cui il lettore potrà riconoscere ora un antico dolore. Una leggera gioia. Ritmo incalzante del tempo. Una voce unica. Quella di Giacomo Sartori. In grado di osservare senza alcun moralismo gli attimi che molti si ostinano a chiamare vita.
Editor : Miraggi Edizioni
Beautiful Days: Stories
Joyce Carol Oates (American Author)
The diverse stories of Beautiful Days. Joyce Carol Oates explore the most secret, intimate. And unacknowledged interior lives of characters not unlike ourselves. Who assert their independence in acts of bold and often irrevocable defiance.
“Fleuve Bleu” exemplifies the rich sensuousness of Oates’s prose. As lovers married to other persons vow to establish, in their intimacy, a ruthlessly honest. Truth-telling authenticity missing elsewhere in their complicated lives, with unexpected results.
Editor : Happer Collins publishers
Under the Influence : A Novel
Joyce Maynard (American Author)
Drinking cost Helen her marriage and custody of her seven-year-old son, Ollie. Once an aspiring art photographer. She now makes ends meet taking portraits of school children and working for a caterer. Recovering from her addiction. She spends lonely evenings checking out profiles on an online dating site. Weekend visits with her son are awkward. He’s drifting away from her, fast.
When she meets Ava and Swift Havilland. The vulnerable Helen is instantly enchanted. Wealthy, connected philanthropists. They have their own charity devoted to rescuing dogs. Their home is filled with fabulous friends. Edgy art, and dazzling parties.
Then Helen meets Elliott, a kind. Quiet accountant who offers loyalty and love with none of her newfound friends’ fireworks. To Swift and Ava, he’s boring. But even worse than that, he’s unimpressed by them.
As Helen increasingly falls under the Havillands’ influence—running errands. Doing random chores. Questioning her relationship with Elliott—Ava and Swift hold out the most seductive gift. Their influence and help to regain custody of her son. But the debt Helen owes them is about to come due.
Ollie witnesses an accident involving Swift. His grown son, and the daughter of the Havillands’ housekeeper. With her young son’s future in the balance. Helen must choose between the truth and the friends who have given her everything.
Editor : William Morrow
La follia delle Muse (Italian Edition)
Popolata da personaggi ossessionati dalla letteratura. Una storia di passioni libresche e di mistero, di follia e di ambizione.Tutto ruota attorno alla figura. Grandiosa e sinistra, di un personaggio forgiato sul riconoscibile modello di J.D. Salinger: Horace Jacob Little. Scrittore geniale e bizzarro di romanzi e racconti dal tono borgesiano che. Nel corso di una carriera ventennale. Non ha mai diffuso sue fotografie. Rifiutando ogni contatto con la stampa. Nessuno lo ha mai visto né sa dove vive, compreso il suo agente.
Le copertine dei suoi libri sono completamente bianche. Sulle sue tracce si muovono. Spinti da opposte ambizioni. Due ex compagni di corso all’Università di Princeton. Jake, giornalista esordiente che affida le sue speranze professionali. Alla possibilità di rintracciare Little e costringerlo a un’intervista. E Andrew, brillante ma mentalmente disturbato. Che ha dedicato i suoi studi letterari alla produzione di Little. Restando a tal punto coinvolto dalla personalità. Dello scrittore da immaginare una vera e propria persecuzione di costui ai propri danni.
Lara è la ragazza amata da entrambi. Che affiderà a Jake il manoscritto con le illuminanti. “Confessioni” di Andrew. Al centro dei percorsi dei tre personaggi. Il luogo simbolico del libro. Il Manicomio delle Muse. Lussuoso ospedale psichiatrico per artisti e scrittori. Nella sua atmosfera rarefatta e ipnotica si scioglieranno. I nodi di una vicenda sempre più complessa. In una tensione narrativa capace di coinvolgere il lettore nel vortice di un gioco colto e inquietante.
Editor – Meridiano Zero
Churchill m’a menti
Caroline Grimm (French Author)
C’est une histoire vraie et oubliée. Celle de l’île de Jersey, abandonnée par Churchill en juin 1940. Envahie par les Allemands deux mois plus tard. Comment vont survivre les habitants de l’île livrés à l’ennemi ? Pour qui les nazis font-ils construire les seuls camps de concentration de l’Europe de l’Ouest ? Des centaines de Français y seront déportés. Pourquoi Churchill n’en a-t-il jamais parlé ? Ces années de lutte. Caroline Grimm les raconte en suivant le quotidien palpitant de personnages qui n’ont eu d’autre choix que de collaborer avec l’ennemi ou de résister.
Un roman passionnant et bouleversant sur un chapitre ignoré de la Seconde Guerre mondiale.
Editor : Flammarion
The Zen Poems of Ryokan
Ryokan Translation by Nobuyuki Yuasa (Japan)
A poet-priest of the late Edo period. Ryokan (1758-1831) was the most important Japanese poet of his age. This volume contains not only the largest English translation. Yet made of his principal poems. But also an introduction that sets the poetry in its historical. And literary context. And a biographical sketch of the poet himself.
Editor – Princeton Legacy Library
Tiffany Tavernier (French)
Sans cesse en mouvement. Tirant derrière elle sa valise. La narratrice de ce roman va d’un terminal à l’autre. Engage des conversations. S’invente des vies. Eternelle voyageuse qui pourtant ne montera jamais dans un de ces avions dont le spectacle l’apaise. Arrivée à Roissy sans mémoire ni passé. Elle y est devenue une « indécelable ». Une sans domicile fixe déguisée en passagère. Elle a trouvé refuge dans ce non lieu les englobant tous. S’attachant aux êtres croisés dans cet univers fascinant. Personnels navigants ou au sol côtoient clandestins. Et laissés-pour-compte. Instituant habitudes et rituels comme autant de remparts. Aux bribes de souvenirs qui l’assaillent et l’épouvantent.
La femme sans nom fait corps avec l’immense aérogare.
Mais la bulle de sécurité finit par voler en éclats. Et quand un homme, qui tous les jours vient attendre le vol Rio-Paris. Le même qui, des années auparavant. S’est abîmé en mer tente de l’aborder. Elle fuit, effrayée. Comprenant, à sa douceur et à son regard blessé, qu’il ne lui fera aucun mal. Elle se laissera pourtant aller à la complicité qui se nouera entre eux. Magnifique portrait de femme rendue à elle-même à la faveur des émotions qui la traversent. Roissy est un livre polyphonique et puissant. Il interroge l’infinie capacité de l’être humain à renaître à soi et au monde.
Editor : Sabine Wespieser Editeur
Guillermo Stitch (US)
Outside in July. Therefore, is the first novel of Guillermo Stitch. In addition, it has already been called a “masterpiece” by the San Francisco Book Review. Also, in the author’s house in Tarifa, Andalusia. In addition, Literature® is a science fiction black that. “Envelopes the razor-sharpness of Raymond Chandler. Around the extraordinary vision of Philip K. Dick “. In other words, and whose plot is about a terrorist. In conclusion, live in a world where fiction is forbidden.
Editor : Nineveh Editions
The Diary of a Nose
Jean-Claude Ellena (French)
French bestseller. Also, the diary of a nose is the story of creating a scent. Also, perfume head at Hermès. Above all, the creation of perfume is an exclusive and secret business. In addition, what does life look like for a perfumer? For example, how does the creation of a new perfume begin? After that, how do you capture the essence of an odor on the skin? After that, for a year. Jean-Claude Ellena wrote a diary of his life as “exclusive perfumer” for Hermes. However, believing that creating a perfume is like creating a work of art. Above all, describing himself as a writer using “olfactory colors”. In conclusion, he explains how the five senses come into play when creating a perfume.
He also reveals how inspiration can come from a market stall. A landscape. Or even the movement of calligraphy. And concludes this charming, perceptive diary with recipes for natural fragrances. Each made up of three synthetic ingredients. To create the illusion of smells like freesia. Orange blossom. Grapefruit. Pear. Chocolate, cashew and cotton candy. This is the story of a quest to capture what is most elusive. Jean-Claude Ellena offer readers a rare insight into the secrets of his business. His art, and his life as one of the world’s most important and admired perfumers.
Editor : Kindle Edition
Rouge de soi
Babouillec – France
“Je m’appelle Eloise Othello. Je cours contre l’idée de la perte de l’identité individuelle au bénéfice de l’identité collective. En clair, être soi-même et non une identité manufacturée dans la chaîne de l’identité sociale.” Babouillec, époustouflante auteure autiste n’ayant jamais appris, selon ses propres mots, “à lire, à écrire, à parler”, parvient à composer ses textes à l’aide de lettres en carton disposées sur une feuille blanche. Dans ce premier roman, elle nous entraîne hors des sentiers battus de l’autofiction pour nous livrer une véritable leçon de courage et d’indépendance.
Editor – Payot et Rivage
La Distancia Que Nos Separa
Renato Cisneros – (Spain)
«Es un libro impresionante, y haberlo escrito, además de talento, demuestra un gran coraje.» Mario Vargas Llosa Si quiero entender a mi padre debo identificar nuestros puntos de intersección, iluminar las zonas oscuras, buscar el contraste, resolver los acertijos que con el tiempo fui abandonando. Si consigo entender quién fue él antes que yo naciera, quizá podré entender quién soy ahora que está muerto. Es en esas dos titánicas preguntas que se sostiene el enigma que me obsesiona: Quién era él antes de mí. Quién soy yo después de él. Ese es mi objetivo sumario: reunir a esos hombres intermedios. «Cisneros pone un orden novelesco en el desorden inherente a toda vida humana, mientras va en busca del tiempo perdido y del padre añorado».
Editor: Planeta Libri
How to Be Perfect
Ron Padgett – (US)
“Make eye contact with a tree.” “Do not practice cannibalism.” “Wear comfortable shoes.” “Sing, every once in a while.” “In later life, become a mystic.” Offbeat, warm, and funny, Ron Padgett’s prescriptions for human perfection springs to life in Jason Novak’s cartoons—a delightful match-up of sensibilities. And remember: “Don’t give advice.”
Editor: Coffe Housse Press
Envisioning Real Utopias
Erik Olin Wright – (US)
The growing inequality of income and power. As a result, recent convulsions in the financial sector. After that, have made more urgent than ever the search for alternatives to unbridled capitalism. However, the left has lost ground worldwide. In addition, starting from the beginning. Also, that liberal capitalism is the only game in town. In other words, political theorists tend. Especially to consider as utopian any attempt. For example, rethinking our social and economic relationships. Similarly, Fredric Jameson explained it for the first time. In conclusion, it is now easier for us to imagine. the end of the world as an alternative to capitalism.
Editor: Verso Books
Marie-Hélène Lafon – (French Novelist)
“J’ai l’oeil, je n’oublie à peu près rien, ce que j’ai oublié, je l’invente.J’ai toujours fait ça, comme ça, c’était mon rôle dans la famille, jusqu’à la mort de grand-mère Lucie, la vraie mort, la seconde. Elle ne voulait personne d’autre pour lui raconter, elle disait qu’avec moi elle voyait mieux qu’avant son attaque.” Le Franprix de la rue du Rendez-Vous, à Paris. Une femme, que l’on devine solitaire, regarde et imagine. Gordana, la caissière. L’homme encore jeune qui s’obstine à venir chaque vendredi matin… Silencieusement elle dévide l’écheveau de ces vies ordinaires. Et remonte le fil de sa propre histoire.Nos vies est le nouveau roman de Marie-Hélène Lafon. Il aurait pour sujet la ville et ses solitudes.Marie-Hélène Lafon est professeur de lettres classiques à Paris.
Money Power Love
Joss Sheldon – (English Novelist)
Born on three adjacent beds, a mere three seconds apart. Also, our three heroes. Are united by nature but divided by nurture. Moulded by their different upbringings. They spend their lives chasing three very different desires. Money, power and love.
This is a human story. A tale about people like ourselves. Cajoled by the whimsy of circumstance. Who find themselves performing the most beautiful acts as well as the most vulgar.
This is a historical story. A tale set in the early 1800s. Which shines a light on how bankers. With the power to create money out of nothing. Were able to shape the world we live in today.
Finally, and this is a love story. A tale about three men, who fall in love with the same woman. At the very same time
A la lumière du petit matin.
Agnes Martin-lugand – (French Novelist)
À l’approche de la quarantaine. Hortense se partage entre son métier de professeur de danse et sa liaison avec un homme marié. Elle se dit heureuse. Pourtant elle devient spectatrice de sa vie. Peu à peu gagnée par un indicible vague à l’âme qu’elle refuse d’affronter. Jusqu’au jour où le destin la fait trébucher… Mais ce coup du sort n’est-il pas l’occasion de raviver la flamme intérieure qu’elle avait laissée s’éteindre ?
Edition : Michel Lafon.
Madame Pylinska et le secret de Chopin
Éric-Emmanuel Schmitt – (French Novelist)
« – Madame Pylinska, quel est le secret de Chopin ? – Il y a des secrets qu’il ne faut pas percer mais fréquenter. Leur compagnie vous rend meilleur. »
En suivant les cours de la tyrannique Madame Pylinska. Le jeune Eric Emmanuel cherche à comprendre le mystère de la musique de Chopin. La Polonaise a de surprenantes façons d’expliquer le génie du musicien. La leçon de piano devient peu à peu apprentissage de la vie et de l’amour. Dans le cadre de “Le cycle de l’invisible”. Un conte initiatique plein d’émotion, d’intelligence et d’humour.
Edition : Albin-Michel
Things Fall Apart – (republishing)
Chinua Achebe – (Nigerian author)
Things are falling apart. In other words, it’s the first of three novels in the African trilogy. Especially, acclaimed by the criticism of Chinua Achebe. In addition, it is a classic story. Also, the cataclysmic encounter of Africa with Europe. After that, she established a colonial presence on the continent. Concurrently, told through the fictitious experiences of Okonkwo. After that, a wealthy Igbo warrior without fear of Umuofia at the end of the nineteenth century. In conclusion, Things Fall Apart explores the uselessness of a man. Resistance to the devaluation of its Igbo traditions by British politicians and religious. The forces and its desperation as a community surrender to the new powerful order.
editor : Everyman’s Library
La petite fille sur la banquise
Adelaïde Bon – (French Novelist)
« J’ai neuf ans. Un dimanche de mai, je rentre seule de la fête de l’école, un monsieur me suit. Un jour blanc. Après, la confusion. Année après année, avancer dans la nuit. Quand on n’a pas les mots, on se tait. On s’enferme. On s’éteint, alors les mots. Je les ai cherchés. Longtemps. Et de mots en mots, je me suis mise à écrire. Je suis partie du dimanche de mai et j’ai traversé mon passé. J’ai confronté les faits. Et phrase après phrase. J’ai épuisé la violence à force de la nommer. De la délimiter, de la donner à voir et à comprendre. Page après page, je suis revenue à la vie. »
Quand ses parents la trouvent en pleurs. Mutique, Adélaïde ignore ce qui lui est arrivé. Ils l’emmènent au commissariat. Elle grandit sans rien laisser paraître. Adolescente puis jeune femme enjouée. Des années de souffrance, de solitude, de combat. Vingt ans après. Elle reçoit un appel de la brigade des mineurs. Une enquêtrice a rouvert l’affaire dite de l’électricien, classée. L’ADN désigne un cambrioleur bien connu des services de police. On lui attribue 72 victimes mineures de 1983 à 2003. Plus les centaines de petites filles qui n’ont pas pu déposer plainte. Au printemps 2016. Au Palais de justice de Paris, au côté de 18 autres femmes. Adélaïde affronte le violeur en série qui a détruit sa vie.
Avec une distance. Une maturité et une finesse d’écriture saisissantes. Adélaïde Bon retrace un parcours terrifiant, et pourtant trop commun. Une lecture cruciale.
Edition : Grasset
Le dernier jour
Jean-Luc Outers – (Belgian Novelist)
“Dans la tradition des Tombeaux, en quelque sorte. Le dernier hommage que l’on peut rendre à ceux dont l’heure ultime nous sépare durablement”.
J.M.G. Le Clézio. Autant de manières de célébrer la vie à travers la mort. Autant de manières de vivre que de mourir. Jean-Luc Outers renoue donc avec la tradition du Tombeau. Tour à tour épitaphe. Oraison. Pure élégie ou déploration. Se fondant sur des écrits et des témoignages. Il donne pourtant le sentiment de raconter des histoires proches de la fiction. Dont les héros auront marqué sa vie. Parmi eux, on reconnaîtra les écrivains Henri Michaux. Dominique Rolin. Simon Leys. Hugo Claus.
The Shepherd’s Hut
Tim Winton – (Australian Author)
Tim Winton’s brilliant novel. The Riders was about a journey with a potentially perilous ending, and his new novel. The Shepherd’s Hut, revisits some of these themes.
Jaxie is a rude fugitive. However, his voice recalls the characters of Irvine Welsh. But also, he is incredibly articulate and clever. After that, he meets Fintan MacGills. In other words, a mysterious companion excluded and disconcerting Irish. Likewise, he also lives in an old shepherd’s hut. After that, Jaxie allows herself to form a suspicious and strange friendship. In conclusion, this book. In other words, is not for animal lovers or delusional. Finally, eat a lot of innocent goats and kangaroos.