Just as Clarisse’s husband and daughter know nothing of Ladivine, Clarisse herself has hidden nearly every aspect of her adult life from this woman, whom she dreads and despises but also pities. Long ago abandoned by Clarisse’s father, Ladivine works as a housecleaner and has no one but her daughter, whom she knows as Malinka. After more than twenty-five years of this deception, the idyllic middle-class existence Clarisse has built from scratch can no longer survive inside the walls she’s put up to protect it. Her untold anguish leaves her cold and guarded, her loved ones forever trapped outside, looking in. When her husband, Richard, finally leaves her, Clarisse finds comfort in the embrace of a volatile local man, Freddy Moliger. With Freddy, she finally feels reconciled to, or at least at ease with, her true self. But this peace comes at a terrible price. Clarisse will be brutally murdered, and it will be left to her now-grown daughter, who also bears the name Ladivine without knowing why, to work out who her mother was and what happened to her.A mesmerizing and heart-stopping psychological tale of a trauma that ensnares three generations of women, Ladivine proves Marie NDiaye to be one of Europe’s great storytellers.

    She met a guy just like herself: same age, same background, same hopes and dreams; they got married and started a family. Too bad he made her miserable. Now, two decades later, she's a nearly-divorced, forty-one-year-old schoolteacher with two school-aged sons, and there is no script anymore. So when she meets Joseph, she isn't exactly looking for love--she's more in the market for a babysitter. Joseph is twenty-two, living at home with his mother, and working several jobs, including the butcher counter where he and Lucy meet. It's not a match anyone one could have predicted. He's of a different class, a different culture, and a different generation. But sometimes it turns out that the person who can make you happiest is the one you least expect, though it can take some maneuvering to see it through. Just Like You is a brilliantly observed, tender, but also brutally funny new novel that gets to the heart of what it means to fall surprisingly and headlong in love with the best possible person--someone you didn't see coming.

    Now twenty-five, with a new life and the prospect of a child, Kimiâ is inundated by her own memories and the stories of her ancestors, which reach her in unstoppable, uncontainable waves. In the waiting room of a Parisian fertility clinic, generations of flamboyant Sadrs return to her, including her formidable great-grandfather Montazemolmolk, with his harem of fifty-two wives, and her parents, Darius and Sara, stalwart opponents of each regime that befalls them.In this high-spirited, kaleidoscopic story, key moments of Iranian history, politics, and culture punctuate stories of family drama and triumph. Yet it is Kimiâ herself—punk-rock aficionado, storyteller extraordinaire, a Scheherazade of our time, and above all a modern woman divided between family traditions and her own “disorientalization”—who forms the heart of this bestselling and beloved novel.

    The literary critic Roland Barthes dies—struck by a laundry van—after lunch with the presidential candidate François Mitterand. The world of letters mourns a tragic accident. But what if it wasn’t an accident at all? What if Barthes was . . . murdered?

    Horrified by the pedestrian names her husband chooses for their unborn child (Tanguy if it's a boy, Joelle if it's a girl), Lucette does the only honorable thing to save her baby from such an unexceptional destiny - she kills her spouse. While in prison, Lucette gives birth to a daughter to whom she bequeaths the portentous name of an obscure saint, Plectrude, before hanging herself." From her beginnings, Plectrude seems fated for a life like no other. Raised by an indulgent and adoring aunt, she is a dreamy child who is discovered to have enormous gifts as a dancer. Accepted at Paris's most prestigious ballet school, Plectrude devotes herself to artistic perfection, giving dance her heart and soul - and ultimately her body. As her world shatters as easily as her bones, she learns to survive in the only way she knows how - by committing an act of deadly self-preservation her mother would have understood best.

    Filled with slang and obscenities and written in raw, colloquial language, Journey to the End of the Night is a literary symphony of violence, cruelty and obscene nihilism. This book shocked most critics when it was first published in France in 1932, but quickly became a success with the reading public in Europe, and later in America where it was first published by New Directions in 1952. The story of the improbable yet convincingly described travels of the petit-bourgeois (and largely autobiographical) antihero, Bardamu, from the trenches of World War I, to the African jungle, to New York and Detroit, and finally to life as a failed doctor in Paris, takes the readers by the scruff and hurtles them toward the novel's inevitable, sad conclusion.

    Naïma's father claims to remember nothing; he has made himself French. Her grandfather died before he could tell her his side of the story. But now Naïma will travel to Algeria to see for herself what was left behind--including their secrets.The Algerian War for Independence sent Naïma's grandfather on a journey of his own, from wealthy olive grove owner and respected veteran of the First World War, to refugee spurned as a harki by his fellow Algerians in the transit camps of southern France, to immigrant barely scratching out a living in the north. The long battle against colonial rule broke apart communities, opened deep rifts within families, and saw the whims of those in even temporary power instantly overturn the lives of ordinary people. Where does Naïma's family fit into this history? How do they fit into France's future?Alice Zeniter's The Art of Losing is a powerful, moving family novel that spans three generations across seventy years and two shores of the Mediterranean Sea. It is a resonant people's history of Algeria and its diaspora. It is a story of how we carry on in the face of loss: loss of country, identity, language, connection. Most of all, it is an immersive, riveting excavation of the inescapable legacies of colonialism, immigration, family, and war.

    Impulsive, reckless and heroic, Meaulnes embodies the romantic ideal, the search for the unobtainable, and the mysterious world between childhood and adulthood.

    She is a wife, a mother, and the owner of Happy People Read and Drink Coffee, a cozy literary cafe in Paris. But when she suddenly loses her beloved husband and daughter in a tragic car accident, the world as she knows it instantly vanishes. Trapped and haunted by her memories, Diane retreats from friends and family, unable and unwilling to move forward. But one year later, Diane shocks her loved ones and makes the surprising decision to move to a small town on the Irish coast, finally determined to heal and rebuild her life alone—until she meets Edward, the attractive yet taciturn Irish photographer who lives next door. At first abrasive and unwelcoming, Edward initially resents Diane’s intrusion into his life of solitude . . . until he can no longer keep her at arm’s length, and they fall into a surprising and tumultuous romance. But will it last when Diane leaves Ireland, and Edward, for the home she once ran away from in Paris? At once heartbreaking and uplifting, Diane’s story is deeply felt, reminding us that love remembered is love enduring.

    Dr. Charcot holds all of Paris in thrall with his displays of hypnotism on women who have been deemed mad and cast out from society. But the truth is much more complicated—these women are often simply inconvenient, unwanted wives, those who have lost something precious, wayward daughters, or girls born from adulterous relationships. For Parisian society, the highlight of the year is the Lenten ball—the Madwomen’s Ball—when the great and good come to gawk at the patients of the Salpetriere dressed up in their finery for one night only. For the women themselves, it is a rare moment of hope. Genevieve is a senior nurse. After the childhood death of her sister Blandine, she shunned religion and placed her faith in both the celebrated psychiatrist Dr. Charcot and science. But everything begins to change when she meets Eugenie—the 19-year-old daughter of a bourgeois family that has locked her away in the asylum. Because Eugenie has a secret: she sees spirits. Inspired by the scandalous, banned work that all of Paris is talking about, The Book of Spirits, Eugenie is determined to escape from the asylum—and the bonds of her gender—and seek out those who will believe in her. And for that she will need Genevieve's help . . .

    In impressionistic, diary form he ruthlessly catalogues his every feeling and sensation about the world and people around him. His thoughts culminate in a pervasive, overpowering feeling of nausea which "spread at the bottom of the viscous puddle, at the bottom of our time, the time of purple suspenders and broken chair seats; it is made of wide, soft instants, spreading at the edge, like an oil stain." Roquentin's efforts to try and come to terms with his life, his philosophical and psychological struggles, give Sartre the opportunity to dramatize the tenets of his Existentialist creed.The introduction for this edition of Nausea by Hayden Carruth gives background on Sartre's life and major works, a summary of the principal themes of Existentialist philosophy, and a critical analysis of the novel itself.

    But the most profound moment of her life is still to come...Meet Doris, a 96-year-old woman living alone in her Stockholm apartment. She has few visitors, but her weekly Skype calls with Jenny—her American grandniece, and her only relative—give her great joy and remind her of her own youth.When Doris was a girl, she was given an address book by her father, and ever since she has carefully documented everyone she met and loved throughout the years. Looking through the little book now, Doris sees the many crossed-out names of people long gone and is struck by the urge to put pen to paper. In writing down the stories of her colorful past—working as a maid in Sweden, modeling in Paris during the 30s, fleeing to Manhattan at the dawn of the Second World War—can she help Jenny, haunted by a difficult childhood, unlock the secrets of their family and finally look to the future? And whatever became of Allan, the love of Doris’s life?

    Blurring the lines between fact and fiction, an unnamed narrator attempts to plot the emotional and physical course of her two-year relationship with a married foreigner where every word, event, and person either provides a connection with her beloved, or is subject to her cold indifference. With courage and exactitude, she seeks the truth behind an existence lived entirely for someone else, and, in the pieces of its aftermath, she is able to find it.

    Yui struggles to continue on, alone with her pain. Then, one day she hears about a man who has an old disused telephone booth in his garden. There, those who have lost loved ones find the strength to speak to them and begin to come to terms with their grief. As news of the phone booth spreads, people travel to it from miles around. Soon Yui makes her own pilgrimage to the phone booth, too. But once there she cannot bring herself to speak into the receiver. Instead she finds Takeshi, a bereaved husband whose own daughter has stopped talking in the wake of her mother’s death. Simultaneously heartbreaking and heartwarming, The Phone Booth at the Edge of the World is the signpost pointing to the healing that can come after.

    Then his life takes an unexpected turn when he meets a female Protestant vicar (who also happens to be an atheist), and a homeless receptionist at a former brothel which is now a one-star hotel. The three join forces and concoct an unusual business plan based on Hitman Anders’ skills and his fearsome reputation. The vicar and receptionist will organize jobs for a group of gangsters, and will attract customers using the tabloids’ love of lurid headlines.The perfect plan—if it weren’t for Hitman Anders’ curiosity about the meaning of it all. In conversations with the vicar, he turns to Jesus and, against all odds, Jesus answers him! The vicar can’t believe what’s happening. When Hitman Anders turns to religion, the lucrative business is in danger, and the vicar and the receptionist have to find a new plan, quick.Fast-paced and sparky, the novel follows these bizarre but loveable characters on their quest to create a New Church, with all of Sweden’s gangsters hunting them. Along the way, it explores the consequences of fanaticism, the sensationalist press, the entrepreneurial spirit and straightforward human stupidity—and underlying all of it, the tenuous hope that it’s never too late to start again.