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I’m fascinated by these themes – love, France, mystery, women’s lives, war, and peace. My parents took me to France when I was 12 and I’ve spent years there in between and go back whenever I can. I started reading in French when sent to be an au pair in Switzerland when I was 17. My own novel, The Lost Love Letters Of Henri Fournier was absorbing to write as it contains all of the above. I found an unpublished novel of Fournier’s in a village in rural France a few years ago and decided I had to write about him and his lover, Pauline, who was a famous French actress.
The story of a boy growing up in France before World War 1, of friendship and love and a mysterious house to which the hero finds it hard to return, I have been mesmerized for a lifetime by this short novel, and it’s the basis for my own novel about Fournier’s life and loves.
The arrival of Augustin Meaulnes at a small provincial secondary school sets in train a series of events that will have a profound effect on his life, and that of his new friend Francois Seurel. It is Seurel who recalls the impact of le grand Meaulnes, disruptive and charismatic, on his schoolmates, and the encounter that is to haunt them both. Lost, and alone, Meaulnes stumbles upon an isolated house, mysterious revels, and a beautiful girl. When he returns to Seurel it is with the fixed determination to find the house again, and the girl with whom he has fallen…
I’m fascinated by these themes – love, France, mystery, women’s lives, war, and peace. My parents took me to France when I was 12 and I’ve spent years there in between and go back whenever I can. I started reading in French when sent to be an au pair in Switzerland when I was 17. My own novel, The Lost Love Letters Of Henri Fournier was absorbing to write as it contains all of the above. I found an unpublished novel of Fournier’s in a village in rural France a few years ago and decided I had to write about him and his lover, Pauline, who was a famous French actress.
Another story that's impossible to forget – actually this is a novella in a collection of stories with this name. Again, about a lost house in a forest in France, an artist, a young man in love, and the two young women who bewitch him in turns. John Fowles is an English writer from the 1960s, whose work I loved when young and still do. He was much influenced by Alain-Fournier.
The Ebony Tower, comprising a novella, three stories, and a translation of a medieval French tale, echoes themes from John Fowles's internationally celebrated novels as it probes the fitful relations between love and hate, pleasure and pain, fantasy and reality.
I’m fascinated by these themes – love, France, mystery, women’s lives, war, and peace. My parents took me to France when I was 12 and I’ve spent years there in between and go back whenever I can. I started reading in French when sent to be an au pair in Switzerland when I was 17. My own novel, The Lost Love Letters Of Henri Fournier was absorbing to write as it contains all of the above. I found an unpublished novel of Fournier’s in a village in rural France a few years ago and decided I had to write about him and his lover, Pauline, who was a famous French actress.
This is a recent first novel, set mostly in France, about a young Palestinian man who goes there to study medicine and falls in love with the daughter of his host. I’m still reading it, and admiring the sureness of touch, the knowledge of history, and above all the sense of the period – it’s set before World War 1 and continues through the 20th century. Brava, Isabella Hammad!
'A sublime reading experience: delicate, restrained, surpassingly intelligent, uncommonly poised and truly beautiful' Zadie Smith
**WINNER OF THE BETTY TRASK AWARD 2020**
Midhat Kamal - dreamer, romantic, aesthete - leaves Palestine in 1914 to study medicine in France, under the tutelage of Dr Molineu. He falls deeply in love with Jeannette, the doctor's daughter. But Midhat soon discovers that everything is fragile: love turns to loss, friends become enemies and everyone is looking for a place to belong.
Through Midhat's eyes we see the tangled politics and personal tragedies of a turbulent era - the Palestinian struggle for independence, the…
I’m fascinated by these themes – love, France, mystery, women’s lives, war, and peace. My parents took me to France when I was 12 and I’ve spent years there in between and go back whenever I can. I started reading in French when sent to be an au pair in Switzerland when I was 17. My own novel, The Lost Love Letters Of Henri Fournier was absorbing to write as it contains all of the above. I found an unpublished novel of Fournier’s in a village in rural France a few years ago and decided I had to write about him and his lover, Pauline, who was a famous French actress.
Anyone who wants to read a love story – all of us, surely – has to start with this story of young love set on the coast of the South of France in the early 20th century. Colette’s prose has been well matched by her translators and she’s simply a jewel of a writer and the first woman who really told the truth about love and sexuality.
The author captures that precious, painful moment when childhood retreats at the onslaught of dawning knowledge and desire. Philippe and Venca are childhood friends. In the days and nights of late summer on the Brittany coast, their deep-rooted love for each other loses its childhood simplicity.
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…
I am adopted. I am a birth mother and also a mother through adoption. I have lived through all ‘three faces’ of adoption and know how each ‘face’ affects millions of people's lives all over the world. I am passionate that conversations around adoption need to come out of the closet and the secrecy surrounding the subject must disappear. By writing my books, I am on a mission to support adoptees, birth mothers, and adoptive parents and help them realise they are not alone. After publication of my first book in the Survival Without Roots trilogy, I am humbled that people are reaching out to say that reading Book One has helped them so much.
I recommend this book as it explains what to take into consideration when trying to understand the adopted child. I am adopted and did not realise that a lot of the lifelong trauma I have felt was related to adoption. It is a must-read for adopted people, adoptive families, birth parents, and adoption professionals.
The Primal Wound is a seminal work which revolutionizes the way we think about adoption. It describes and clarifies the effects of separating babies from their birth mothers as a primal loss which affects the relationships of the adopted person throughout life.. It is a book about pre-and perinatal psychology, attachment, bonding, and loss. It gives adoptees, whose pain has long been unacknowledged or misunderstood, validation for their feelings, as well as explanations for their behavior. It lists the coping mechanisms which adoptees use to be able to attach and live in a family to whom they are not related…
As a Korean transracial adoptee, it seems like I’ve always been thinking about family, or even if I didn’t want to, other people’s intrusive questions about my family makeup forced me to. More than solely thinking about my own family–whether my Korean biological family or my white adoptive family–it led me to be curious about the broader systems, policies, and practices behind something that seems so personal and private. It’s no surprise that I formalized my inquiry into the social world by becoming a sociologist and professor. As a sociologist, my primary research interests are race, identity, and belonging, and yes, Korean transnational transracial adoption is part of that focus.
I vaguely remember hearing about the tragedy of the Hart children–six Black and mixed-race children who were adopted out of foster care and killed by their two white adoptive mothers. I wasn’t aware of all of the intricate details of their case or the foster care system that allowed this to happen.
I am in awe of Roxanna’s investigative journalism and the nuance and empathy in which she tells this story. While it is the Hart story that’s at the center of this book, I learned so much more about the child welfare system overall and how it’s set up to promote child separation. Heartbreaking.
“A riveting indictment of the child welfare system . . . [A] bracing gut punch of a book.” ―Robert Kolker, The Washington Post
“[A] moving and superbly reported book.” ―Jessica Winter, The New Yorker
“A harrowing account . . . [and] a powerful critique of [the] foster care system . . . We Were Once a Family is a wrenching book.” ―Jennifer Szalai, The New York Times
A New York Times Book Review Editors’ Choice
The shocking, deeply reported story of a murder-suicide that claimed the lives of six children―and a searing indictment of the American foster care system.
After my dad died, I didn’t know where to turn. People felt uncomfortable talking to a seventeen-year-old girl about her dead dad. They felt even more uncomfortable talking to me about it one, two, ten years later. Still, I couldn’t, can’t, stop thinking about it. I turned, then, to books. These books made and make me feel seen. They aren’t about “moving on” or “letting go” but the ways in which leaning into grief’s deep well connects us to love’s true depths. These books are honest and pure, and if you don’t know what to say to a friend who’s mourning, let these authors speak for you.
“I am writing into the rupture, the absence left there,” writes Mary-Kim Arnold in her book.
Framed through a Korean television questionnaire, the book investigates how loss (of parents, of a homeland, of language) dislocates us. This lyric essay collages personal and public documents, rifling through history in search of tethers, poetics rubbing against the barest of facts.
I’m still, over ten years later, combing through my father’s things, knowing, as this book does, that the only answer is the search. It’s the desire to know, not the knowing itself, that matters.
Literary Nonfiction. Asian & Asian American Studies. The orphan at the center of LITANY FOR THE LONG MOMENT is without homeland and without language. In three linked lyric essays, Arnold attempts to claim her own linguistic, cultural, and aesthetic lineage. Born in Korea and adopted to the US as a child, she explores the interconnectedness of language and identity through the lens of migration and cultural rupture. Invoking artists, writers, and thinkers—Theresa Hak Kyung Cha, Francesca Woodman, Susan Sontag, among others—LITANY FOR THE LONG MOMENT interweaves personal documents, images, and critical texts as a means to examine loss and longing.
I was raised as one of two white kids in a large, multiracial adoptive family by loving parents who wanted to change the world. Our parents were thoughtful about adoption, ambitious about the symbolism of our family, and raised us all to be conscious about race, to see it, and to guard against it. But the world is a lot bigger than our house and racism is insidious and so, in a way, we all eventually got swallowed up. So I started thinking hard about the dynamic relationship between race and adoption and family when I was just a kid, and I’ve never really stopped.
The writing is gorgeous, but it is the story – heartbreaking at first and then, as it closes, heartwarming – that grabs you.
Rebecca Carroll, marked as black, is adopted by white parents and raised in an all-white town. Determined to learn more about herself, she sets out to reconnect with her birth parents, but what she learns is a set of hard, painful truths. As the thread slowly unspools, her white birth mother is also revealed as abusive and controlling.
Still searching for a sense of who she is, Carroll discovers her own blackness through found family, and by doing so challenges her readers to cling tight to anyone who makes us whole.
A stirring and powerful memoir from black cultural critic Rebecca Carroll recounting her painful struggle to overcome a completely white childhood in order to forge her identity as a black woman in America.
Rebecca Carroll grew up the only black person in her rural New Hampshire town. Adopted at birth by artistic parents who believed in peace, love, and zero population growth, her early childhood was loving and idyllic—and yet she couldn’t articulate the deep sense of isolation she increasingly felt as she grew older.
Everything changed when she met her birth mother, a…
All my life, I’ve struggled with accepting who I am. It’s no secret that the Vietnam War was unpopular in America; as such, I spent my adolescence hiding who I was. Literature like this didn’t exist when I was a kid. If it had, I think I would’ve seen myself differently. As a writer, I explore similar themes in my work and highlight the importance of discussing how our childhood experiences (good and bad) shape us. Uniformity is a destroyer of identity; my mission is to show how loving what makes us different allows us to love the differences we see in others.
This book is powerful. When three biological siblings find one another they’re all at different stages.
Grace, at sixteen, has just given birth. Joaquin, the older brother, has bounced around foster care homes. And the youngest, Maya, searches for traces of herself in her new bio siblings. I imagine all kids who are adopted, at some point, struggle with why they were given up. These three are no different, but they are so dynamic and lovable, and despite Joaquin’s struggles, he shines as an older brother who wants nothing but the best for his sisters.
Watching these kids love each other is, in a way, watching them learn to love themselves, and it’s so darn beautiful.
WINNER OF THE U.S. NATIONAL BOOK AWARD 2017 FOR YOUNG PEOPLE'S LITERATURE!
'Sometimes, family hurts each other. But after that's done you bandage each other up, and you move on. Together. So you can go and think that you're some lone wolf, but you're not. You've got us now, like it or not, and we've got you.'
When 16 year-old Grace gives up her baby for adoption, she decides that the time has come to find out more about her own biological mother. Although her biological mum proves elusive, her search leads her to two half-siblings she never knew existed.…
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