From a stunning new voice, a debut novel that, like Zadie Smith's White Teeth and Monica Ali's Brick Lane, confronts the multi-racial realities of modern Britain with humour, grace, and lyrical intensity. Identical twins Georgia and Bessi live in the loft of 26 Waifer Avenue in Neasden, London. It is their place, one of strawberry-scented beanbag chair, a view of the apple trees, and very important decisions, and all visitors must knock on the door marked 26a before entering. Downstairs is a less harmonious world: Ida, the twins’ Nigerian mother, puts cayenne pepper on Yorkshire pudding and can only assuage her bouts of desperate homesickness with five-hour baths and long conversations in Edo with her own absent mother; Aubrey, their Derbyshire-born father, shouts “Haddock!” in frustration with his house full of women, and angrily roams the streets of Neasden to escape his demons. Older sister Bel discovers sex, high heels, and organic hairdressing, and baby sister Kemy is obsessed with Michael Jackson. The twins plan their own flapjack empire as the ticket to a shining future for two. But as Georgia and Bessi grow up, discovering the temptations and dangers of London in the 1980s and 90s, the realities of separateness and of solitude crowd in. Each must decide on her own path to adulthood and pursue it — and discover if she can face the future as only one. Wickedly funny and devastatingly moving, 26a is part fairytale, part nightmare. It moves from the mundane to the magical, the particular to the universal with exceptional flair and imagination. It is for everyone who remembers their childhood, and anyone who knows what it is to lose it. On the outside of their front door Georgia and Bessi had written in chalk ‘26a,’ and on the inside ‘G&B,’ at eye level, just above the handle. This was the extra dimension. The one after sight, sound, smell, touch and taste where the world multiplied and exploded because it was the sum of two people. Bright was twice as bright. All the colours were extra. Girls with umbrellas skipped across the wallpaper and Georgia and Bessi could hear them laughing. —Excerpt from 26a
A NEW YORK TIMES NOTABLE BOOK OF THE YEAR • Longlisted for the Orwell Prize for Political Fiction • A sweeping and beautifully rendered exploration of home and yearning, following the fracturing of a family upon the demise of its patriarch "Each character here is richly and deeply drawn...This is a novel that encourages us to stand in life’s burning doorways, and to think long before we walk away or walk through.” —New York Times In the early hours of June 14, 2017, the world watches as flames leap up the sides of a residential high-rise in West London, consuming Grenfell Tower and many of the lives within it. Across town, an earlier spark has caught fire. A cigarette left burning in an ashtray. A table strewn with post-it reminders and old newspapers. And one Cornelius Winston Pitt—estranged husband, complicated dad, and Pitt family patriarch—takes his final breaths alone. These twin tragedies open Diana Evans’s A House for Alice, an aching portrait of a family of women shaken by loss and searching for closure. At the novel’s center is Alice herself, the Pitt matriarch who, after fifty years in England, now longs to live out her final years in her homeland of Nigeria. Her three daughters are torn on the issue of whether she stays or goes, and while youngest sibling Melissa also grapples with the embers of her own failed relationship, the Pitt family’s foundational pillars—of trust, love, and cultural identity—begin to crack. Intimately drawn and set against a fraught political backdrop, yet equally full of hope, humor, and humanity, A House for Alice traces the scars of grief and betrayal across generations and uncovers the secrets we keep from those closest to us.
** Selected by the New Yorker, Financial Times and New Statesman as a Book of the Year ** 'Diana Evans is a lyrical and glorious writer; a precise poet of the human heart' Naomi Alderman 'You can take a leap, do something off the wall, something reckless. It's your last chance, and most people miss it.' 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? Set against the backdrop of Barack Obama's historic election victory, Ordinary People is an intimate, immersive study of identity and parenthood, sex and grief, friendship and aging, and the fragile architecture of love. With its distinctive prose and irresistible soundtrack, it is the story of our lives, and those moments that threaten to unravel us.
**WINNER OF THE ORANGE AWARD FOR NEW WRITERS** ‘A remarkable first novel...vibrant...exotic’ Sunday Times Discover the critically acclaimed debut from the Women’s Prize-shortlisted author of Ordinary People Identical twins, Georgia and Bessi Hunter, live in the loft of 26 Waifer Avenue. It is a place of beanbags, nectarines and secrets, and visitors must always knock before entering. Down below there is not such harmony. Their Nigerian mother puts cayenne pepper on her Yorkshire pudding and has mysterious ways of dealing with homesickness; their father angrily roams the streets of London, prey to the demons of his Derbyshire upbringing. Forced to create their own identities, the Hunter children build a separate universe. Their elder sister Bel discovers sex, high heels and organic hairdressing whilst the twins prepare for a flapjack empire. It is when the reality comes knocking that the fantasies of childhood start to give way. How will Georgia and Bessi cope in a world of separateness and solitude, and which of them will be stronger? ‘Hugely assured and very moving’ Mark Haddon ‘Diana Evans’s fiction is emotionally intelligent, dark, funny, moving. The sheer energy in her novels is enthralling. A brilliant craftswoman, a master of the form, she makes the reader ask important questions of themselves and makes them laugh at the same time’ Jackie Kay, British Council and National Centre for Writing's International Showcase on Britain's 10 best BAME writers Winner of the British Book Award for deciBel Writer of the Year Shortlisted for the Whitbread First Novel Award Shortlisted for the Guardian First Book Award Shortlisted for the Commonwealth Best First Book Award Shortlisted for the Times/Southbank Show Breakthrough Award Recipient of the Betty Trask Award Longlisted for the International IMPAC Dublin Literary Award
**AS HEARD ON BBC RADIO 4 BOOK CLUB** 'Diana is so amazing when it comes to writing about humans and relationships... I don't know anyone who's as skilled as her' Candice Carty-Williams, Oprah Magazine Two couples find themselves at a moment of reckoning. Melissa has a new baby and doesn't want to let it change her. Damian has lost his father and intends not to let it get to him. Michael is still in love with Melissa but can't quite get close enough to her to stay faithful. Stephanie just wants to live a normal, happy life on the commuter belt with Damian and their three children, but his bereavement is getting in the way. Set in London to an exhilarating soundtrack, Ordinary People is an intimate study of identity and parenthood, sex and grief, friendship and ageing, and the fragile architecture of love. 'I am shouting from the rooftops to anyone who will listen about this book. It's so so good - realistic and funny and so truthful it almost winded me' Dolly Alderton 'I just finished Ordinary People by Diana Evans and it is utterly exquisite. What a writer she is - the depth of her insight, the grace of her sentences' Elizabeth Day, Twitter
It almost seems that Thomas Mellon Evans was a man so far ahead of his contemporaries that he had moved into the shadows before the full force of his business style had dawned on the rest of corporate America. At every step in his career, he was barging in where few would follow -- at first. But follow they did, at last." -- from the Prologue The first in-depth portrait of the life and times of the trailblazing financier Thomas Mellon Evans -- the man who pursued wealth and power in the 1950s with a brash ruthlessness that forever changed the face of corporate America. Long before Michael Milken was using junk bonds to finance corporate takeovers, Thomas Mellon Evans used debt, cash, and the tax code to obtain control of more than eighty American companies. Long before investors began to lobby for "shareholder's rights," Evans was demanding that public companies be run only for their shareholders -- not for their employees, their executives, or their surrounding communities. To some, Evans's merciless style presaged much that is wrong with corporate life today. To others, he intuitively knew what was needed to keep America competitive in the wake of a global war. In The White Sharks of Wall Street, New York Times investigative reporter Diana Henriques provides the first biography of this pivotal figure in American business history. She also portrays the other pioneering corporate raiders of the postwar period, such as Robert Young and Louis Wolfson, and shows how these men learned from one another and advanced one another's takeover tactics. She relates in dramatic detail a number of important early takeover fights -- Wolfson's challenge to Montgomery Ward, Young's move on the New York Central Railroad, the fight for Follansbee Steel -- and shows how they foreshadowed the desperate battle waged by Tom Evans's son, Ned Evans, to keep the British raider Robert Maxwell away from his Macmillan publishing empire during the 1980s. Henriques also reaches beyond the business arena to tally the tragic personal cost of Evans's pursuit of success and to show how the family dynasty shattered when his sons were driven by his own stubbornness and pride to become his rivals. In the end, the battling patriarch faced his youngest son in a poignant battle for control at the Crane Company, the once-famous Chicago plumbing and valve company that Tom Evans had himself seized in a brilliant takeover coup twenty-five years earlier. The White Sharks of Wall Street is a fascinating portrait of an extraordinary man, whose career blazed across the sky and then sank into obscurity -- but not before he had provided the template for how American business would operate for the next four decades.
This book explores the increasing use of Constituency Development Funds (CDFs) in emerging democratic governments in Africa, Asia, the Caribbean, and Oceania. CDFs dedicate public money to benefit parliamentary constituencies through allocations and/or spending decisions influenced by Members of Parliament (MPs). The contributors employ the term CDF as a generic term although such funds have a different names, such as electoral development funds (Papua New Guinea), constituency development catalyst funds (Tanzania), or Member of Parliament Local Area Development Fund (India), etc. In some ways, the funds resemble the ad hoc pork barrel policy-making employed in the U.S. Congress for the past 200 years. However, unlike earmarks, CDFs generally become institutionalized in the government’s annual budget and are distributed according to different criteria in each country. They enable MPs to influence programs in their constituencies that finance education, and build bridges, roads, community centers, clinics and schools. In this sense, a CDF is a politicized form of spending that can help fill in the important gaps in government services in constituencies that have not been addressed in the government’s larger, comprehensive policy programs. This first comprehensive treatment of CDFs in the academic and development literatures emerges from a project at the State University of New York Center for International Development. This project has explored CDFs in 19 countries and has developed indicators on their emergence, operations, and oversight. The contributors provide detailed case studies of the emergence and operations of CDFs in Kenya, Uganda, Jamaica, and India, as well as an analysis of earmarks in the U.S. Congress, and a broader analysis of the emergence of the funds in Africa. They cover the emergence, institutionalization, and accountability of these funds; analyze key issues in their operations; and offer provisional conclusions of what the emergence and operations of these funds say about the democratization of politics in developing countries and current approaches to international support for democratic governance in developing countries.
Une pièce d'art, où les phrases s'enroulent comme des rubans de soie autour d'images obsédantes... Diana Evans était destinée à écrire ce roman. " The Independent Lucas, vingt-cinq ans, vit sur une péniche déglinguée à Londres. Mais la péniche, symbole d'aventure, n'a jamais largué les amarres et Lucas passe ses journées à fumer des joints et à écouter Scarface en boucle. Désœuvré, mal dans sa peau, il finit par comprendre que, pour faire quelque chose de sa vie, il doit chercher à connaître celle de ses parents. Sa mère, la magnifique Carla, est morte quand il était très jeune. D'Antoney, son père, il sait seulement que c'était un danseur merveilleux et que, dans les années 1960, il a connu une gloire éphémère avec le Midnight Ballet. Cette compagnie, composée exclusivement de danseurs noirs, mélangeait avec brio le ballet classique aux danses traditionnelles africaines, antillaises, jamaïcaines et cubaines. Traquant les témoins de cette époque, exhumant articles de presse et vieilles photos, Lucas plonge avec émotion dans l'histoire de son père, un danseur aussi brillant et aussi dévasté que Nijinski. Adolescent, Antoney quitte sa Jamaïque natale pour un quartier londonien qui connaîtra bientôt de violentes émeutes raciales. Perdu dans ses rêves, incapable de s'arrimer au monde, il survit grâce à la magie de la danse. Inlassablement il guette le pas de danse qui lui permettra d'échapper à la gravité, aux limites du réel. Il triomphe dans le rôle de Shango, qui bouleverse les règles de l'art et touche le cœur des spectateurs. Mais il est grignoté par une insécurité maladive qui le pousse à tout détruire autour de lui. Pendant un temps, la lumineuse Carla forme pour lui un rempart contre les peurs. Mais bientôt elle attend leur premier enfant, et l'idée de la paternité affole Antoney. Il se réfugie dans l'alcool, oublie de danser, meurt à petit feu, et un jour disparaît. La légende familiale veut qu'il soit mort noyé à la Jamaïque, où il était retourné. La vérité que découvre Lucas est plus triste, mais elle le libérera de son immobilité et l'aidera à larguer les amarres.
Join a young boy as he plants sunflowers in the garden for the first time. He experiences some highs and lows, and learns that there are special gifts all around us. All you have to do is open your eyes.
Author Diana West and a host of others - including authors M. Stanton Evans and Vladimir Bukovsky - defend her new book, "American Betrayal," against a wave of calumnious charges and vicious personal attacks.
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