A New York Times Notable Book A San Francisco Chronicle Best Book of 2012 A Kirkus Reviews Best Book of 2012 Longlisted for The 2014 International IMPAC DUBLIN Literary Award From Marie NDiaye, the first black woman to win the Prix Goncourt, a harrowing and beautiful novel of the travails of West African immigrants in France. The story of three women who say no: Norah, a French-born lawyer who finds herself in Senegal, summoned by her estranged father to save another victim of his paternity; Fanta, who leaves a contented life as a teacher in Dakar to follow her boyfriend back to France, where his depression and dislocation poison everything; and Khady, a penniless widow put out by her husband's family with nothing but the name of a distant cousin in France. As these three lives intertwine, each woman manages an astonishing feat of self-preservation against those who have made themselves the fastest-growing and most-reviled people in Europe. In Marie NDiaye's stunning narration we see the progress by which ordinary women discover unimagined reserves of strength.
A NATIONAL BOOK CRITICS CIRCLE AWARD FINALIST • The New York Times Book Review Editors' Choice • From the best-selling author of Three Strong Women comes a thrilling novel about a triple homicide that dredges up unsettling memories from a lawyer’s childhood. A Best Book of the Year: The New Yorker, TIME, The Washington Post, The Guardian, CrimeReads, and Words Without Borders "[NDiaye] is a master at agitating, probing and upending expectations." —Lovia Gyarkye, The New York Times Book Review "You won’t be able to put it down." —Vogue The heroine of Marie NDiaye’s new novel is Maître Susane, a quiet middle-aged lawyer living a modest existence in Bordeaux, known to all as a consummate and unflappable professional. But when Gilles Principaux shows up at her office asking her to defend his wife, who is accused of a horrific crime, Maître Susane begins to crack. She seems to remember having been alone with him in her youth for a significant event, one her mind obsesses over but can’t quite reconstruct. Who is this Gilles Principaux? And why would he come to her, a run-of-the-mill lawyer, for such an important trial? While this mystery preoccupies Maître Susane, at home she is increasingly concerned about Sharon, her faithful but peculiar housekeeper. Sharon arrived from Mauritius with her husband and children, and she lacks legal residency in France. But while Maître Susane has generously offered Sharon her professional services, the housekeeper always finds ways to evade her, claiming the marriage certificate Maître Susane requires is being held hostage. Is Sharon being honest with Maître Susane, or is something more sinister going on? Told in a slow seethe recalling the short novels of Elena Ferrante and the psychological richness of Patricia Highsmith’s work, Vengeance Is Mine is a dreamlike portrait of a woman afflicted by failing memories and a tortured uncertainty about her own past that threatens to become her undoing.
From the hugely acclaimed author of Three Strong Women—“a masterpiece of narrative ingenuity and emotional extremes” (The New York Times)—here is a harrowing and subtly crafted novel of a woman captive to a secret shame. On the first Tuesday of every month, Clarisse Rivière leaves her husband and young daughter and secretly takes the train to Bordeaux to visit her mother, Ladivine. 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. Translated from the French by Jordan Stump
NDiaye is a hypnotic storyteller with an unflinching understanding of the rock-bottom reality of most people's life.' New York Times ' One of France's most exciting prose stylists.' The Guardian. Obsessed by her encounters with the mysterious green women, and haunted by the Garonne River, a nameless narrator seeks them out in La Roele, Paris, Marseille, and Ouagadougou. Each encounter reveals different aspects of the women; real or imagined, dead or alive, seductive or suicidal, driving the narrator deeper into her obsession, in this unsettling exploration of identity, memory and paranoia. Self Portrait in Green is the multi-prize winning, Marie NDiaye's brilliant subversion of the memoir. Written in diary entries, with lyrical prose and dreamlike imagery, we start with and return to the river, which mirrors the narrative by posing more questions than it answers.
A NATIONAL BOOK CRITICS CIRCLE AWARD FINALIST • The New York Times Book Review Editors' Choice • From the best-selling author of Three Strong Women comes a thrilling novel about a triple homicide that dredges up unsettling memories from a lawyer’s childhood. A Best Book of the Year: The New Yorker, TIME, The Washington Post, The Guardian, CrimeReads, and Words Without Borders "[NDiaye] is a master at agitating, probing and upending expectations." —Lovia Gyarkye, The New York Times Book Review "You won’t be able to put it down." —Vogue The heroine of Marie NDiaye’s new novel is Maître Susane, a quiet middle-aged lawyer living a modest existence in Bordeaux, known to all as a consummate and unflappable professional. But when Gilles Principaux shows up at her office asking her to defend his wife, who is accused of a horrific crime, Maître Susane begins to crack. She seems to remember having been alone with him in her youth for a significant event, one her mind obsesses over but can’t quite reconstruct. Who is this Gilles Principaux? And why would he come to her, a run-of-the-mill lawyer, for such an important trial? While this mystery preoccupies Maître Susane, at home she is increasingly concerned about Sharon, her faithful but peculiar housekeeper. Sharon arrived from Mauritius with her husband and children, and she lacks legal residency in France. But while Maître Susane has generously offered Sharon her professional services, the housekeeper always finds ways to evade her, claiming the marriage certificate Maître Susane requires is being held hostage. Is Sharon being honest with Maître Susane, or is something more sinister going on? Told in a slow seethe recalling the short novels of Elena Ferrante and the psychological richness of Patricia Highsmith’s work, Vengeance Is Mine is a dreamlike portrait of a woman afflicted by failing memories and a tortured uncertainty about her own past that threatens to become her undoing.
From the hugely acclaimed author of Three Strong Women—“a masterpiece of narrative ingenuity and emotional extremes” (The New York Times)—here is a harrowing and subtly crafted novel of a woman captive to a secret shame. On the first Tuesday of every month, Clarisse Rivière leaves her husband and young daughter and secretly takes the train to Bordeaux to visit her mother, Ladivine. 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. Translated from the French by Jordan Stump
From the celebrated French writer Marie NDiaye--Prix Goncourt-winning author of Three Strong Women--comes the story of the Cheffe: a woman who lives in the single-minded pursuit of creating incomparable culinary delights. Born into poverty in southwestern France, as a teenager the Cheffe takes a job working for a wealthy couple in a neighboring town. It is not long before it becomes clear that she has an unusual, remarkable talent for cooking, and soon her sheer talent and ambition put her in charge of the couple’s kitchen. Though she revels in the culinary spotlight, the Cheffe remains secretive about the rest of her life. She shares nothing of her feelings or emotions. She becomes pregnant but will not reveal her daughter’s father. And when the demands of her work become too great, she leaves her baby in the care of her family and sets out to open her own restaurant, to rave reviews. As time goes on, the Cheffe’s relationship with her daughter remains fraught, and eventually it threatens to destroy everything the Cheffe has spent her life perfecting. Told from the perspective of the Cheffe’s former assistant and unrequited lover, this stunning novel by Marie NDiaye is a gustatory tour de force.
Weaving together critical analysis and a filmic conversation, this book journeys through the multiple layers of Cameroonian filmmaker Jean-Marie Teno's thematically and aesthetically challenging body of work, framed here as a formof decolonial cinematic resistance.
Social economy organizations such as cooperatives, non-profits, mutual benefit groups, foundations, and non-governmental organizations are uniquely positioned to respond not only to emerging social and economic needs, but also to new collective aspirations. In Québec, for instance, a pioneering social economy system has been developed that is recognized worldwide for its ability to foster innovative solutions to economic disparity and sustainability issues. In the wake of a global crisis that has emphasized the growing gap between economic and social concerns, what can other regions gain from this model? Through robust theoretical and in-depth empirical studies, this book offers the first opportunity to English-language readers to learn about the Québec experience of a social economy system. It takes stock of recent developments in the province relating to policy planning, governance, financing, local development, and legal frameworks. Innovation and the Social Economy also emphasizes this system’s potential for exploring alternative practices of production, consumption, and distribution that can foster social transformation.
La vie de Rosie Carpe commence à Brive-la-Gaillarde, entre son frère Lazare et ses deux parents Carpe qui sont encore, alors, dépourvus de toute espèce de fantaisie vénéneuse. Rosie conservera de Brive un souvenir confus et voilé de jaune, tandis que, pour son frère Lazare, le bonheur à Brive-la-Gaillarde gardera les couleurs d'un magnolia dont il est le seul à se rappeler la splendeur. Ensuite, à Anthony, Rosie Carpe est adulte. Elle met au monde Titi, travaille, et doucement chavire. Quand Rosie Carpe débarque en Guadeloupe, elle a perdu depuis longtemps la maîtrise de ce qu'elle fait. Et tout ce qui lui arrive, enfant ou désastres, concerne tout aussi bien quelqu'un qui n'est peut-être pas elle.
The changing nature of African landscapes, from rural to urbanized spaces, has been a pre-occupation of African media producers since the beginnings of the African film industry in the 1960s. The authors bring together several examples of African documentary and fiction screen media that present, evaluate and criticize urban and rural landscapes, and the rural and urban dynamic of development, in relation to contemporary issues, from biodiversity, sustainability and deforestation, to inequity, women’s rights, political instability, to climate change-related themes of water and food supply, security and sovereignty. These works, comprising multi-platform cinema, streamed moving images and especially documentaries, depict the situations and open the door to rethinking and eventually to the possibilities of proposals responding to the situations portrayed.
An accessible, up-to-date and legally rigorous introduction to contemporary international environmental law. Detailed references combined with numerous figures and tables provide a conceptually clear understanding of the law in this area.
This book analyzes the factors that have sparked pandemics over the past 2000 years, from the Antonine Plague to COVID-19. It is noteworthy that the frequency of pandemics has increased over the past 2000 years. The authors identify three main drivers for the development of pandemics: transportation, human development, and changes in natural ecosystems. It is important to note that with the advent of the industrial age, the length of time it takes for a pandemic to develop has decreased. COVID-19 is certainly not the last pandemic we will face. Therefore, it is of paramount importance to learn from the past 2000 years to help educate general community and public health officials about pandemic risks and help governments prepare for the next pandemic. The book is also very useful in low and middle-income countries where, in the last several decades, viruses with potential for pandemics have originated. It's comprehensiveness and didactic style make this book a valuable read for government health agencies, private organizations, health care professionals and students.
How have states in the Middle East and North Africa responded to the War on Terror? While much scholarship has focused on terrorism in the region, there is need for critical studies of Middle Eastern states' counter-terrorism policies. This book addresses that need by investigating Morocco's unique approach to counter-terrorism: the bureaucratization of religion. Morocco's strategy is unique in the degree to which it relies on reforms that seek to make the country's religious institutions into tools for rewarding loyalty and discouraging dissent from religious elites. Through these measures they have limited opposition through an enduring form of institutional control, accommodating some of the country's most virulent critics. This book will be of great use to researchers and scholars of Middle Eastern politics, and it will also appeal to those policymakers interested in security studies and counter-terrorism policies.
This unique work reveals how the denial of race as a social category maintains and reproduces systematic racism in contemporary France. Léonard offers an in-depth analysis of contentious issues in society, revealing how color-blind racism is at the centre of social inequality in France.
Excision, or female genital mutilation (FGM), in Africa is no longer the private concern only of women; it is a social and political issue that concerns both men and women and this book reports on an innovative research and action project amongst girls and boys in Burkina Faso, Mali, and Senegal. The project explores whether young people's use of information technology could contribute to the abandonment of FGM. In the age of the internet, beliefs and practices of FGM are shifting, particularly among young people. The results of this project show how, in the era of globalized citizenship, a cross-sectional vision that puts young people and gender at the center of development can produce real change.
The story of freedom pivots on the choices black women made to retain control over their bodies and selves, their loved ones, and their futures. The story of freedom and all of its ambiguities begins with intimate acts steeped in power. It is shaped by the peculiar oppressions faced by African women and women of African descent. And it pivots on the self-conscious choices black women made to retain control over their bodies and selves, their loved ones, and their futures. Slavery's rise in the Americas was institutional, carnal, and reproductive. The intimacy of bondage whet the appetites of slaveowners, traders, and colonial officials with fantasies of domination that trickled into every social relationship—husband and wife, sovereign and subject, master and laborer. Intimacy—corporeal, carnal, quotidian—tied slaves to slaveowners, women of African descent and their children to European and African men. In Wicked Flesh, Jessica Marie Johnson explores the nature of these complicated intimate and kinship ties and how they were used by black women to construct freedom in the Atlantic world. Johnson draws on archival documents scattered in institutions across three continents, written in multiple languages and largely from the perspective of colonial officials and slave-owning men, to recreate black women's experiences from coastal Senegal to French Saint-Domingue to Spanish Cuba to the swampy outposts of the Gulf Coast. Centering New Orleans as the quintessential site for investigating black women's practices of freedom in the Atlantic world, Wicked Flesh argues that African women and women of African descent endowed free status with meaning through active, aggressive, and sometimes unsuccessful intimate and kinship practices. Their stories, in both their successes and their failures, outline a practice of freedom that laid the groundwork for the emancipation struggles of the nineteenth century and reshaped the New World.
Mme Lemarchand a besoin d'une femme de peine. Ce sera Hilda. Mais il lui faut aussi l'amitié d'Hilda, toute la vie d'Hilda, et l'illusion d'une égalité possible. Comment supporter, sinon, d'être servie ?
NDiaye is a hypnotic storyteller with an unflinching understanding of the rock-bottom reality of most people's life.' New York Times ' One of France's most exciting prose stylists.' The Guardian. Obsessed by her encounters with the mysterious green women, and haunted by the Garonne River, a nameless narrator seeks them out in La Roele, Paris, Marseille, and Ouagadougou. Each encounter reveals different aspects of the women; real or imagined, dead or alive, seductive or suicidal, driving the narrator deeper into her obsession, in this unsettling exploration of identity, memory and paranoia. Self Portrait in Green is the multi-prize winning, Marie NDiaye's brilliant subversion of the memoir. Written in diary entries, with lyrical prose and dreamlike imagery, we start with and return to the river, which mirrors the narrative by posing more questions than it answers.
From the celebrated French writer Marie NDiaye--Prix Goncourt-winning author of Three Strong Women--comes the story of the Cheffe: a woman who lives in the single-minded pursuit of creating incomparable culinary delights. Born into poverty in southwestern France, as a teenager the Cheffe takes a job working for a wealthy couple in a neighboring town. It is not long before it becomes clear that she has an unusual, remarkable talent for cooking, and soon her sheer talent and ambition put her in charge of the couple’s kitchen. Though she revels in the culinary spotlight, the Cheffe remains secretive about the rest of her life. She shares nothing of her feelings or emotions. She becomes pregnant but will not reveal her daughter’s father. And when the demands of her work become too great, she leaves her baby in the care of her family and sets out to open her own restaurant, to rave reviews. As time goes on, the Cheffe’s relationship with her daughter remains fraught, and eventually it threatens to destroy everything the Cheffe has spent her life perfecting. Told from the perspective of the Cheffe’s former assistant and unrequited lover, this stunning novel by Marie NDiaye is a gustatory tour de force.
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