Engelska

<p>A stunning collection of essays and memoir from twice Booker Prize winner and international bestseller Hilary Mantel, author of The Mirror and the LightIn 1987, when Hilary Mantel was first published in the London Review of Books, she wrote to the editor, Karl Miller, &apos;I have no critical training whatsoever, so I am forced to be more brisk and breezy than scholarly.&apos; This collection of twenty reviews, essays and pieces of memoir from the next three decades, tells the story of what happened next.Her subjects range far and wide: Robespierre and Danton, the Hite report, Saudi Arabia where she lived for four years in the 1980s, the Bulger case, John Osborne, the Virgin Mary as well as the pop icon Madonna, a brilliant examination of Helen Duncan, Britain&apos;s last witch. There are essays about Jane Boleyn, Charles Brandon, Christopher Marlowe and Margaret Pole, which display the astonishing insight into the Tudor mind we are familiar with from the bestselling Wolf Hall Trilogy. Her famous lecture, &apos;Royal Bodies&apos;, which caused a media frenzy, explores the place of royal women in society and our imagination. Here too are some of her LRB diaries, including her first meeting with her stepfather and a confrontation with a circus strongman.Constantly illuminating, always penetrating and often very funny, interleaved with letters and other ephemera gathered from the archive, Mantel Pieces is an irresistible selection from one of our greatest living writers.</p>

<p>The extraordinary #1 bestseller - a word-of-mouth literary phenomenon &apos;Do not read this book in public: it will make you cry&apos; Anne Enright &apos;Every line pulses with the pain and joy and complexity of an extraordinary life&apos; Mark O&apos;Connell &apos;I am afraid of being the disruptive woman. And of not being disruptive enough. I am afraid. But I am doing it anyway.&apos; In this dazzling debut, Emilie Pine speaks to the business of living as a woman in the 21st century - its extraordinary pain and its extraordinary joy. Courageous, humane and uncompromising, she writes with radical honesty on birth and death, on the grief of infertility, on caring for her alcoholic father, on taboos around female bodies and female pain, on sexual violence and violence against the self. Devastatingly poignant and profoundly wise - and joyful against the odds - Notes to Self offers a portrait not just of its author but of a whole generation.</p>

<p>Considered by many to be the iconic French memoirist's defining work, <em>The Years </em>is a narrative of the period 1941 to 2006 told through the lens of memory, impressions past and present, cultural habits, language, photos, books, songs, radio, television, advertising and news headlines. Annie Ernaux invents a form that is subjective and impersonal, private and communal, and a new genre - the collective autobiography - in order to capture the passing of time. At the confluence of autofiction and sociology, <em>The Years</em> is 'a <em>Remembrance of Things Past </em>for our age of media domination and consumerism' (<em>New York Times</em>), a monumental account of twentieth-century French history as refracted through the life of one woman.</p>

A powerful meditation on ageing and familial love, <i>I Remain in Darkness</i> recounts Annie Ernaux's attempts to help her mother recover from Alzheimer's disease, and then, when that proves futile, to bear witness to the older woman's gradual decline and her own experience as a daughter losing a beloved parent. Haunting and devastatingly poignant, <i>I Remain in Darkness</i> showcases Ernaux's unique talent for evoking life's darkest and most bewildering episodes.

In 1963, Annie Ernaux, 23 and unattached, realizes she is pregnant. Shame arises in her like a plague: understanding that her pregnancy will mark her and her family as social failures, she knows she cannot keep that child. This is the story, written forty years later, of a trauma Ernaux never overcame. In a France where abortion was illegal, she attempted, in vain, to self-administer the abortion with a knitting needle. Fearful and desperate, she finally located an abortionist, and ends up in a hospital emergency ward where she nearly dies. In <i>Happening</i>, Ernaux sifts through her memories and her journal entries dating from those days. Clearly, cleanly, she gleans the meanings of her experience.

Abominations [Bok / Häftad]

THE SUNDAY TIMES BESTSELLER Relive the delusional fever-dream of the modern era. 'Thank f*ck for Marina Hyde: the most lethal, vital, screamingly funny truth-teller of our time.' PHOEBE WALLER-BRIDGE 'The most brilliantly funny columnist of our time.' GARY LINEKER 'It's a scientific FACT: Marina Hyde is Britain's funniest writer.' CAITLIN MORAN No other writer is more suited to chronicling the absurd times in which we live. In What Just Happened?! Marina Hyde slashes her way through the hellscape of post-referendum politics, where the chaos never stops. Clamber aboard as we relive every inspirational moment of magic, from David Cameron to Theresa May to Boris Johnson. Marvel at the sights, from Trumpian WTF-ery to celebrity twattery. And boggle at the cast of characters: Hollywood sex offenders, populists, sporting heroes (and villains), dastardly dukes, media barons, movie stars, reality TV monsters, billionaires, police officers, various princes and princesses, wicked advisers, philanthropists, fauxlanthropists, telly chefs, and (naturally) Gwyneth Paltrow. It's the full state banquet of crazy - and you're most cordially invited. Drawn from her spectacularly funny Guardian columns, What Just Happened?! is a welcome blast of humour and sanity in a world where reality has become stranger than fiction. 'A joyous rallying voice in British journalism.' GRAYSON PERRY 'An infinite number of gag-writers, working all day in a gag factory, couldn't come up with any of the perfectly-formed one-liners that populate Marina Hyde's hilarious writing . . . But behind the wit lurks real anger, argument, exasperation and intelligence. Her writing is more than a gentle poke in the ribs: it's a well-wrought and deftly aimed smash in the teeth.' ARMANDO IANNUCCI