Here are 100 books that A Girl's Story fans have personally recommended if you like
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I am a French novelist, the author of fifteen novels, many of which are memoirs, so I am considered a specialist of "autofiction" in France, of fiction written about oneself. But I also love writing about others, as you can see in my novel on David Hockney. Beauvoir, Sarraute and Ernaux were my models, Laurens and Appanah are my colleagues. Three of the books I picked would be called memoirs in the States, and the other two novels. In France, they are in the same category. All these women write beautifully about childhood and womanhood. I love their writing because it is both intimate and universal, full of emotion, but in a very sober and precise style.
Abandonment and the end of love terrify me. In The Woman Destroyed, the happy diary of a fifty-year-old woman turns into a descent into hell when Beauvoir's narrator finds out that her husband is having an affair and is actually leaving her. Beauvoir wrote it in order to send a feminist message to women in the fifties, to convince them to get a job and define their identity outside their family life. I wonder, however, whether the intensity of the grief we feel in that novella wasn't experienced by Beauvoir herself the summer when her American lover, the novelist Nelson Algren, broke up their transcontinental passion of four years.
First published in 1967, this book consists of three short novellas on the theme of women's vulnerability - in the first, to the process of ageing, in the second to loneliness, and, in the third, to the growing indifference of a loved one.
THE WOMAN DESTROYED is a collection of three stories, each an exquisite and passionate study of a woman trapped by circumstances, trying to rebuild her life.
In the first story, 'The Age of Discretion', a successful scholar fast approaching middle age faces a double shock - her son's abandonment of the career she has chosen for him…
I am a French novelist, the author of fifteen novels, many of which are memoirs, so I am considered a specialist of "autofiction" in France, of fiction written about oneself. But I also love writing about others, as you can see in my novel on David Hockney. Beauvoir, Sarraute and Ernaux were my models, Laurens and Appanah are my colleagues. Three of the books I picked would be called memoirs in the States, and the other two novels. In France, they are in the same category. All these women write beautifully about childhood and womanhood. I love their writing because it is both intimate and universal, full of emotion, but in a very sober and precise style.
This book is so subtle and intelligent that it makes me smile at almost every line. Sarraute hates nothing more than clichés and the narcissistic self-indulgence of memoirs. In Childhood, the inner dialogue between the narrator and her memory allows her to avoid these pitfalls and resurrect the past with an amazing emotional accuracy. The questions asked by her critical self deepen her memory and lead to a delicate, vivid, and funny rendering of her childhood at the beginning of the twentieth century in Paris between her divorced Russian parents.
As one of the leading proponents of the nouveau roman, Nathalie Sarraute is often remembered for her novels, including "The Golden Fruits", which earned her the Prix international de litterature in 1964. But her carefully crafted and evocative memoir "Childhood" may in fact be Sarraute's most accessible and emotionally open work. Written when the author was eighty-three years old, but dealing with only the first twelve years of her life, "Childhood" is constructed as a dialogue between Sarraute and her memory. Sarraute gently interrogates her interlocutor in search of her own intentions, more precise accuracy, and, indeed, the truth. Her…
I am a French novelist, the author of fifteen novels, many of which are memoirs, so I am considered a specialist of "autofiction" in France, of fiction written about oneself. But I also love writing about others, as you can see in my novel on David Hockney. Beauvoir, Sarraute and Ernaux were my models, Laurens and Appanah are my colleagues. Three of the books I picked would be called memoirs in the States, and the other two novels. In France, they are in the same category. All these women write beautifully about childhood and womanhood. I love their writing because it is both intimate and universal, full of emotion, but in a very sober and precise style.
I was immediately engaged in the story of a nurse who follows a man to Mayotte and, unable to conceive, adopts a child whom she brings up by herself after the man abandons her. She dies abruptly, however, and the story changes completely, turning into an intense, violent novel about children in the slums. The orphan who fled after his mother's death is horribly abused by another young teenager who is a gang leader, and can free himself only by killing him in the end. I am in awe of Nathacha Appanah for her ability to capture the voice of street children. This is a poignant, powerful, and beautifully written novel about harassment, cruelty, and possession.
Marie, a nurse on the island of Mayotte, adopts an abandoned baby and names him Moise, raising him as a French boy. As he grows up, Moise struggles with his status as an "outsider" and to understand why he was abandoned as a baby. When Marie dies, he is left alone, plunged into uncertainty and turmoil, ending up in the largest and most infamous slum on Mayotte, nicknamed "Gaza".
Narrated by five different characters, Tropic of Violence is an exploration of lost youth on the French island of Mayotte in the Indian Ocean. Shining a powerful light on problems of…
Tap Dancing on Everest, part coming-of-age memoir, part true-survival adventure story, is about a young medical student, the daughter of a Holocaust survivor raised in N.Y.C., who battles self-doubt to serve as the doctor—and only woman—on a remote Everest climb in Tibet.
I am a French novelist, the author of fifteen novels, many of which are memoirs, so I am considered a specialist of "autofiction" in France, of fiction written about oneself. But I also love writing about others, as you can see in my novel on David Hockney. Beauvoir, Sarraute and Ernaux were my models, Laurens and Appanah are my colleagues. Three of the books I picked would be called memoirs in the States, and the other two novels. In France, they are in the same category. All these women write beautifully about childhood and womanhood. I love their writing because it is both intimate and universal, full of emotion, but in a very sober and precise style.
Even though I never felt badly treated for growing up as a girl in a patriarchal world as Camille Laurens did, I loved her book. The first part, which starts with the sentence “It’s a girl,” recounts her childhood in a provincial French town in the sixties, where sexism still reigns. The distressing second part describes the loss of her son at birth. The third part is about her relationship with her daughter — born after the lost son — who, in spite of her mother's best efforts, grew up as a tomboy. The novel cleverly ends when the daughter, 16, tells her mom who asks whether her date is a nice boy: “It’s a girl.” This novel is also the most fascinating book about genre.
From the acclaimed author of Little Dancer Aged Fourteen, a deeply personal and insightful account of being a girl, woman, and mother in a world that sees the feminine as less than.
Born in 1959 to a middle-class family, Laurence Barraqué grows up with her sister in the northern city of Rouen. Her father is a doctor, her mother a housewife. She understands from an early age, by way of language and her parents’ example, that a girl’s place in life is inferior to a boy’s: Asked for the 1964 census whether he has any children, her father promptly responds,…
I have been fascinated by the history of the French Revolution ever since my father took me to visit Napoleon’s tomb in Paris when I was four years old and tried to explain to me who he was and what he had done. For more than forty years, I have been teaching and writing about this inexhaustible subject. The Revolution’s ideals of liberty and equality still speak to us, and the vivid personalities who clashed over them, ranging from Lafayette and Robespierre to the abolitionist priest Henri Grégoire and the ill-fated Marie Antoinette, bring the subject alive. Oh, and did I mention that one of the perks of being a historian of the French Revolution is that you get to make regular trips to Paris?
Half of the people who experienced the French Revolution were women, and the recognition of their role in these events is one of the biggest transformations in historians’ perspectives of the past half-century. Dominque Godineau’s thoroughly documented book depicts the everyday lives of women in the revolutionary era and the activists who paved the way for modern feminist movements.
During the French Revolution, hundreds of domestic and working-class women of Paris were interrogated, examined, accused, denounced, arrested, and imprisoned for their rebellious and often hostile behavior. Here, for the first time in English translation, Dominique Godineau offers an illuminating account of these female revolutionaries. As nurturing and tender as they are belligerent and contentious, these are not singular female heroines but the collective common women who struggled for bare subsistence by working in factories, in shops, on the streets, and on the home front while still finding time to participate in national assemblies, activist gatherings, and public demonstrations in…
I’ve always been fascinated by the failed revolutions of the 19th century and by the romantic socialists, democrats, and nationalists who made these revolutions. I think I have a better understanding of their world and the forces that brought them down than I have of the world I live in. But I do find in their writings remarkable echoes of my own fears and hopes about the future of democracy today.
This book is both an attempt to reclaim the legacy of the Paris Commune for our time and a rich and stimulating investigation of the Commune as “a working laboratory of political invention.” The focus is not on the traditional narrative culminating with the slaughter of Bloody Week. It is on the efforts of individuals—some far removed from the Communards’ Paris—to imagine a world marked by the inversion of longstanding hierarchies and divisions.
What makes the book especially compelling is Ross’s ability to “think with” both Communards like Elisabeth Dmitrieff and Elisée Reclus and outsiders like Kropotkin and Marx as they “open up the field of the possible” in reflecting on the Commune.
Kristin Ross's new work on the thought and culture of the Communard uprising of 1871 resonates with the motivations and actions of contemporary protest, which has found its most powerful expression in the reclamation of public space. Today's concerns-internationalism, education, the future of labor, the status of art, and ecological theory and practice-frame and inform her carefully researched restaging of the words and actions of individual Communards. This original analysis of an event and its centrifugal effects brings to life the workers in Paris who became revolutionaries, the significance they attributed to their struggle, and the elaboration and continuation of…
This memoir chronicles the lives of three generations of women with a passion for reading, writing, and travel. The story begins in 1992 in an unfinished attic in Brooklyn as the author reads a notebook written by her grandmother nearly 100 years earlier. This sets her on a 30-year search…
As a longtime lover of Gothic literature, I wrote my doctoral dissertation on it, which became my book The Gothic Wanderer: From Transgression to Redemption. My second book on the Gothic, Vampire Groomsand Spectre Brides, explored how French and British Gothic authors influenced each other. The City Mysteries novels were part of that influence, as evidenced by how British author Reynolds borrowed the idea to write The Mysteries of London from French author Sue’s The Mysteries of Paris. After reading so many City Mysteriesnovels, I decided to write my own, complete with crossdressers, prostitutes, criminals, innocents, and the genre’s many other signature elements.
This book began the entire City Mysteries genre. When French novelist Eugène Sue published it serially in 1842-1843, it took the world by storm and became an instant bestseller. I love the intrigue in the novel. The main character, Prince Rodolphe, is in disguise as a working man in Paris among criminals and the poor with the intent to help them.
I love how the novel shows the complex personalities of the different characters and their backstories, explaining how many became criminals. The novel is full of Gothic atmosphere and helped to change the Gothic from being set in crumbling castles and the past to the present-day and the modern city. This Gothic cityscape reflected the trauma and displacement many felt living in crime-ridden metropolises.
The first new translation in over a century of the the brilliant epic novel that inspired Les Miserables
From July 1842 through October 1843, Parisians rushed to the newspaper each week for the latest installment of Eugene Sue's The Mysteries of Paris, one of France's first serial novels. The suspenseful story of Rodolphe, a magnetic hero of noble heart and shadowy origins, played out over ninety issues, garnering wild popularity and leading many to call it the most widely read novel of the 19th century. Sue's novel created the city mystery genre and inspired a raft of successors, including Les…
As a historian of early modern France and a professor at Southern Methodist University, I have taken students to Paris on a study abroad program for more than twenty summers. Students were invariably intrigued by the relationship of Henry II, Catherine de Medici, and Diane de Poitiers. The young prince married Catherine de Medici at the age of fourteen but the thirty-six-year-old Diane de Poitiers became his mistress when he was sixteen and remained so for the rest of his life. The complexities of that relationship and the significance of both women led me to conclude that the history of the Renaissance could be told through the lives of the queens and mistresses.
This book brings to light the intimate relationships of ordinary young men and women as opposed to those of powerful, public women. While royal women endured contemporary surveillance of their sexuality, pregnancies, and childbirths, the intimate lives of ordinary women must be wrested from archival records. Harwick’s exploration of legal records concerning unmarried pregnant women reveals the various range of strategies they adopted as well as the extensive support, both emotional and financial, they received from their community—clergy, lawyers, midwives, parents, etc.—to the benefit of both mother and child. Such support may well have reduced child abandonment and infanticide.
Hardwick not only challenges the standard notion of a sexual double standard applied to the detriment of women but also documents the mobilization of an early modern city not to punish unmarried women who faced expected pregnancies but to offer sympathetic aid.
Our ideas about the long histories of young couples' relationships and women's efforts to manage their reproductive health are often premised on the notion of a powerful sexual double standard.
In Sex in an Old Regime City, Julie Hardwick offers a major reframing of the history of young people's intimacy. Based on legal records from the city of Lyon, Hardwick uncovers the relationships of young workers before marriage and after pregnancy occurred, even if marriage did not follow, and finds that communities treated these occurrences without stigmatizing or moralizing. She finds a hidden world of strategies young couples enacted when…
Before I could start writing Into the Lion’s Mouth, I spent a lot of time researching the medieval and renaissance Venice. I was astounded to see how relevant that history is to today. Not only are there many parallels that can be drawn between the past and today there is so much to learn about the consistency of human nature. I find myself currently gravitating towards books that mix history and fiction and these are some of my favorites.
A warm inn, and a stranger’s tale gather together a group of travelers as they become fascinated by the story of three gifted children that is sweeping the land. I loved the way this book brought the story of the people in the inn and the marvelous children together step by step. Peppered with real historical figures and legends this book is a must-read for the middle-grade medieval enthusiast.
A Newbery Honor Book Winner of the Sydney Taylor Book Award
An exciting and hilarious medieval adventure from the bestselling author of A Tale Dark and Grimm. Beautifully illustrated throughout by Hatem Aly!
A New York Times Bestseller A New York Times Editor's Choice A New York Times Notable Children's Book A People Magazine Kid Pick A Washington Post Best Children's Book A Wall Street Journal Best Children's Book An Entertainment Weekly Best Middle Grade Book A Booklist Best Book A Horn Book Fanfare Best Book A Kirkus Reviews Best Book A Publishers Weekly Best Book A School Library Journal…
I grew up thinking that being adopted didn’t matter. I was wrong. This book is my journey uncovering the significance and true history of adoption practices in America. Now, in the wake of the U.S. Supreme Court’s overturning of Roe v. Wade, the renewed debate over women’s reproductive rights places…
I worked for ten years as a guard at the Metropolitan Museum of Art, as narrated in my memoir, All the Beauty in the World. I’ve found that readers are fascinated by the art in the Met but also by the “living museum,” which includes five hundred security guards keeping watch over millions of visitors each year. I’ve read a variety of workplace memoirs to study how authors depict the rhythms of work and the feel of particular workplaces. I’m especially passionate when there are larger themes at play and thus clear reasons why we should care.
This is a workplace memoir in part because of the engaging, disgusting scenes where he labors as a plongeur (dishwasher) in a grimy French restaurant. But in a broader sense, it’s a book about the hard work of being poor.
Every sentence is intelligent and the overall thrust is deeply moral—Orwell’s calling card.
From the author of 1984, the classic semi-autobiographical story about the adventures of a penniless British writer in two cities.
Down and Out in Paris and London follows the journey of a writer among the down-and-out in two great cities. Without self-pity and often with humor, this novel is Orwell at his finest-a sobering, truthful protrayal of poverty and society.
