Lara Williams

Pushcart Prize-nominated Lara Williams’ debut is a candid, wry, and deeply moving road map to contemporary adulthood. She finds herself single, twenty-nine, partially-employed, and about a half a stone overweight. Roller dexter of eligible friends rattling thin. Thirties breathing down her neck like an inappropriate uncle. She jogs. Looks good in turquoise. Finds herself punctuating gas “better out than in!” patting her stomach like a department store Santa. This is who I am, she thinks. The women in Lara Williams’ debut story collection, A Selfie as Big as the Ritz, navigate the tumultuous interval between early twenties and middle age. In the title story, a relationship implodes against the romantic backdrop of Paris. In “One of Those Life Things,” a young woman struggles to say the right thing at her best friend’s abortion. In “Penguins,” a girlfriend tries to accept her boyfriend’s bizarre sexual fantasy. In “Treats,” a single woman comes to terms with her loneliness. As Williams’ characters attempt to lean in, fall in love, hold together a family, fend off loneliness, and build a meaningful life, we see them alternating between expectation and resignation, giddiness and melancholy, the rollercoaster we all find ourselves on.

Questa è la storia di una fame che non va mai via. E di Roberta, che vive cercando di non occupare spazio. A quasi trent’anni è bloccata in un lavoro senza senso. Un giorno conosce Stevie, è libera e pericolosa. Diventano amiche, vanno a vivere insieme. Poi inventano il Supper Club. Un collettivo di donne stanche di sentirsi dire che devono parlare meno, mangiare meno, costare meno, essere meno. Ma più il club diventa popolare e sovversivo, più Roberta è costretta a riconciliarsi con la vulnerabilità del proprio corpo – e quel passato che ha lavorato così duramente per reprimere. Le divoratrici è una storia che parla della fame di vivere. Un romanzo sul crescere e trovare il proprio posto nel mondo.

A sharply intelligent and intimate debut novel about a secret society of hungry young women who meet after dark and feast to reclaim their appetites--and their physical spaces--that posits the question: if you feed a starving woman, what will she grow into? Roberta spends her life trying not to take up space. At almost thirty, she is adrift and alienated from life. Stuck in a mindless job and reluctant to pursue her passion for food, she suppresses her appetite and recedes to the corners of rooms. But when she meets Stevie, a spirited and effervescent artist, their intense friendship sparks a change in Roberta, a shift in her desire for more. Together, they invent the Supper Club, a transgressive and joyous collective of women who gather to celebrate, rather than admonish, their hungers. They gather after dark and feast until they are sick; they break into private buildings and leave carnage in their wake; they embrace their changing bodies; they stop apologizing. For these women, each extraordinary yet unfulfilled, the club is a way to explore, discover, and push the boundaries of the space they take up in the world. Yet as the club expands, growing both in size and rebellion, Roberta is forced to reconcile herself to the desire and vulnerabilities of the body--and the past she has worked so hard to repress. Devastatingly perceptive and savagely funny, Supper Club is an essential coming-of-age story for our times.

From the prize-winning author of Supper Club comes a wickedly funny and slyly poignant new satire on modern life. For fans of Sally Rooney, Ottessa Moshfegh, and Convenience Store Woman. Ingrid works on a gargantuan luxury cruise liner where she spends her days reorganizing the gift shop shelves and waiting for long-term guests to drop dead in the aisles. On her days off, she disembarks from the ship, wasting the hours aimlessly following tourists around, drinking the local alcohol, and buying clothes she never intends to wear again. It's not a bad life. At least, it distracts her from thinking about the other life--the other person--she left behind five years ago. That is, until the day she is selected by the ship's enigmatic captain and (ill-informed) wabi sabi devotee, Keith, for his mentorship program. Encouraging her to reflect on past mistakes and her desperation to remain lost at sea, Keith pushes Ingrid further than she ever thought possible. But as her friendships and professional life onboard steadily fall apart, Ingrid must ask herself: how do you know when you have gone too far? Utterly original, mischievous, and thought-provoking, The Odyssey is a merciless takedown of consumer capitalism and our anxious, ill-fated quests to find something to believe in. It's a voyage that will lead our heroine all the way home, though she will do almost anything to avoid getting there.

"It was the curse of the modern age, options: who needed options, when everything was essentially meaningless?" So says one of the characters in Lara Williams' extraordinary debut story collection. Treats is a break-up album of tales covering relationships, the tyranny of choice, and self navigation. This fresh, beguiling new voice paints a portrait of contemporary womanhood, balancing wry humour with a pervading sense of alienation. Williams' characters struggle with how to negotiate intimacy within relationships and isolation when single, the pitfalls and indignities of dating, dragged down by dissatisfaction. Meanwhile the dilemmas of contemporary adulthood play out, including abortion, depression, extra-marital affairs, infatuation, new baby anxiety, bereavement, hair loss, sexual ethics, cats, and taxidermy.