Vendela Vida crée des récits captivants sur la recherche d'identité et les voies non conventionnelles choisies par les femmes. Ses œuvres explorent souvent les complexités des relations, examinant comment l'environnement et l'expérience façonnent nos vies. Avec une prose précise et un regard aiguisé sur la psychologie humaine, elle offre aux lecteurs un aperçu profond de la vie intérieure de ses personnages. Vida n'hésite pas à poser des questions difficiles, et ses romans résonnent longtemps après la dernière page.
Die Straßen von Sea Cliff gehören ihnen – Eulabee und ihrer Freundin Maria Fabiola. Sie klettern mutig über Klippen, lärmen selbstbewusst durch das Viertel und manipulieren charmant ihre Eltern. Doch nachdem sie der Polizei zwei Versionen der Szene mit dem fremden Mann erzählen, bröckelt nicht nur ihre Freundschaft: Eulabee wird zur Ausgestoßenen, und dann ist Maria Fabiola auf einmal verschwunden.
Written in the key of Greta Gerwig's Lady Bird, We Run the Tides unravels the tense friendships of a tight-knit group of self-obsessed teenage girls, who, through a small misunderstanding, are forced to confront the secrets they keep and the lies they tell...
'Part glamorous travelogue, part slow-burn mystery, this full-bodied tale of a runaway is at once formally inventive and heartbreakingly familiar... (It's also insanely funny.)' Lena Dunham
Manchmal müssen wir fortgehen um uns selbst zu finden Es war ihre Hochzeitsreise. Eine Reise, die Yvonne und Peter vor über zwanzig Jahren in den türkischen Küstenort DatÇa führte. Jetzt ist Yvonne verwitwet. Und die Kinder sind längst erwachsen. In der Hoffnung, die Erinnerung an glücklichere Tage wieder aufleben zu lassen, kehrt Yvonne an jenen bedeutungsvollen Ort zurück. Und sie ist überwältigt von den neuen Eindrücken und den Menschen vor Ort. Ihr Vermieter ist ein begnadeter Frauenverführer. Und dann ist da noch der traurige Junge Ahmet, der für die Touristen nach Muscheln taucht und den Yvonne sofort in ihr Herz schließt. Bis ein schreckliches Ereignis alles verändert …
Yvonne, a recently widowed American mother of two grown children, returns to Datça, Turkey, to relive memories of a happier time, but instead is troubled by her past and finds solace in her friendship with Ahmet, a young local boy.
The Believer monthly books and culture magazine is three-time finalist for National Magazine Awards in General Excellence and Design. An amiable yet rigorous forum for books and book criticism, The Believer provides an alternative to the plot summary that has increasingly become synonymous with "book review," extending the ever-shortening shelf life of new books, reviving interest in books long overlooked, and stressing the interconnectivity of books to pop culture, politics, art, and music. To that end, each issue includes essays on these topics, as well as lengthy interviews with philosophers, politicians, and poets. Nick Hornby has a widely celebrated monthly books column, and Amy Sedaris (and well-known guest-columnists) offers an advice column comprised of hilariously bad advice. The celebrated graphic novelist Charles Burns illustrates the cover each month, and the magazine is littered with illustrations by a wide range of established and emerging artists, with regulars like Tony Millionaire, Marcel Dzama, and others.
The first original screenplay by Dave Eggers and Vendela Vida, Away We Go is the new movie directed by Academy Award® winner Sam Mendes.Longtime couple Verona (Maya Rudolph) and Burt (John Krasinski) are expecting a baby, and the impending child's only living grandparents are moving to—where else—Belgium. So Burt and Verona head out on the road, across America, looking for the right place to call home. Along the way they encounter a succession of strange and hilarious friends and relatives (played by a cast that includes Jeff Daniels, Catherine O’Hara, Maggie Gyllenhall, Josh Hamilton, Allison Janney, and Jim Gaffigan), most of whom have no idea what they’re doing. In the end—with and despite the help of those they meet on their journey—Burt and Verona come closer to an understanding of their own definition of home and family.
When Clarissa Iverton was fourteen years old, her mother disappeared and Clarissa was raised by her father. Upon his death, Clarissa, now twenty-eight, discovers he wasn't her father at all. This revelation forces her to confront the truth about her mother's past and her own identity.
Surviving an encounter at gunpoint in a New York City park, twenty-one-year-old Ellis finds herself avoiding everyone, a choice she reevaluates when she accompanies her mother on a mission in the Philippines
