Cette autrice explore les complexités de l'expérience humaine, offrant une analyse pointue de thèmes tels que l'identité, la mémoire et l'intersection culturelle. Son style d'écriture est reconnu pour sa profondeur poétique et sa capacité à capturer les nuances subtiles des liens humains. À travers sa prose, elle offre une perspective unique sur les parcours individuels et sociétaux, incitant les lecteurs à réfléchir à leurs propres récits. Ses œuvres témoignent du pouvoir de la littérature pour relier le passé et le présent.
»Was hätte Freud davon gehalten, dass alles Individuelle gleichsam zu einer Fallgeschichte geworden ist; davon, wie die Individualität selbst heute allenthalben als eine vorab diagnostizierte ›psychologische‹ Störung bestimmt wird? Was hätte er von dem Geständnisgebrüll in den sozialen (oder antisozialen) Medien gehalten? Oder davon, wie Kindheitstraumata heute ständig wiederholt, neu entfacht und aufpoliert werden, und wie Traumata im allgemeinen als Identitätsmarkierungen herhalten?«
'The small translucent bottle of shampoo outlived him. It was the kind you take home from hotels in distant places. For over a year it had sat on the shower shelf where he had left it. I looked at it every day.' After the death of her partner of thirty-two years, Lisa Appignanesi was thrust into a state striated by rage and superstition in which sanity felt elusive. The dead of prior generations loomed large and haunting. Then, too, the cultural and political moment seemed to collude with her condition: everywhere people were dislocated and angry. In this electrifying and brave examination of an ordinary enough death and its aftermath, Appignanesi uses all her evocative and analytic powers to scrutinize her own and our society's experience of grieving, the effects of loss and the potent, mythical space it occupies in our lives. With searing honesty, lashed by humour, she navigates us onto the terrain of childhood, the way it forms our feelings of love and hate, and steers us towards a less tumultuous version of the everyday. This book may be short, but life, death, madness, love, and grandchildren, are all there - seen through the eyes of a writer who is ever aware of the historical and current vagaries of woman's condition.
"Paris, 1990" on back cover should read: Paris, 1900.
The antidote to the idea that being a woman is all about submitting to desire. There are many more shades than that and here are fifty women to explore them.
Mad, bad and sad. From the depression suffered by Virginia Woolf and Sylvia Plath to the mental anguish and addictions of iconic beauties Zelda Fitzgerald and Marilyn Monroe. From Freud and Jung and the radical breakthroughs of psychoanalysis to Lacan's construction of a modern movement and the new women-centred therapies. This is the story of how we have understood mental disorders and extreme states of mind in women over the last two hundred years and how we conceive of them today, when more and more of our inner life and emotions have become a matter for medics and therapists.
Bei der Suche nach ihrer besten Freundin, die plötzlich verschwunden ist, muß Leonora feststellen, wie wenig sie Isabel in Wahrheit kennt. Anscheinend hat Isabel ein geheimes Leben geführt. Leonora weiß weder von dem neuesten Liebhaber ihrer Freundin noch von der Familienhölle, der sie einst entflohen ist. Als an der englischen Küste die Leiche einer Frau gefunden wird, scheinen sich Leonoras Ängste zu bewahrheiten. Die Londoner Bestseller-Autorin erzählt spannend und literarisch von den Abgründen der Seele.
In a moving tale of oppression and courageous defiance, sixteen-year-old Latifa tells her story of growing up in war torn Afghanistan.
Paris 1899. Theaters and galleries are vibrant with artistic energy. The new Metro is under construction, and so is the site for the centennial Universal Exhibition. But there is also savage political upheaval. Asylums and jails are overcrowded. The Dreyfus Affair has released a riotous surge of anti-Semitism. Bostonian lawyer James Norton has been sent by his mother to bring back his invalid sister Elie and his younger brother Raf, a journalist., but the brutal deaths of the actress Olympe Fabre, and then of her sister Judith in the asylum of Salpêtrière, draw the siblings into a dark web of violence.
Lisa Appignanesi was born Elsbieta Borenztejn in Poland. Unlike other holocaust memoirs, hers is the story of how the nucleus of a family survived outside the camps, beyond the ghetto and eventually made it to the new world, where Lisa's mother found that her years of masquerading as an Aryan stood her in great stead in anti-semitic post-war Catholic Quebec. As her mother's memory fails, Lisa finds her self trying to unravel the truth about her family, searching not only for signs of her mother's lost brother - a Jewish Schindler character, making money and saving Jews in Warsaw - but also for the truth about how her parents managed to survive, and for her own birth certificate. It's above all the compelling story of one woman's determination not to go under, and the story of her father, who learned to make himself invisible and hide behind silent rage. This is a remarkable tale of terror, courage, deprivation, persecution, survival, and Jewish family life.
This is a chilling and psychological thriller is about why some men love woman yet are ready to kill them. The author unravels the intricacies of human relationships while exploring with raw honesty the irrational reasons behind sexual jealousy. Madeleine has a deep-rooted suspicion of men, she is found dead, suicide? or murder?
