«Immaginate di aver avuto come padre il meno conciliante dei filosofi della Scuola di Francoforte, prima di giudicare se non potevo diventare una persona un po’ più risolta: una persona che pensi a vivere, per esempio, anziché incastrarsi sempre tra le parole». Igor, poco più che quarantenne, ha sempre avuto un rapporto complicato con il padre, a partire dal suo lavoro di traduttore americanista che Herr Professor – russofilo, vetero-comunista, soprannominato così per il suo rigore intransigente – ha sempre disprezzato. Per fortuna, però, padre e figlio vivono in città diverse, e le occasioni di scontro sono limitate al minimo. Le giornate di Igor si somigliano un po’ tutte, tra le piccole frustrazioni del traduttore e una certa insofferenza per la nuova piega che ha preso la vita della compagna Marta, recentemente reinventatasi intellettuale femminista. Almeno finché non è chiamato a fronteggiare una crisi più urgente: un messaggio della sorella Ester lo informa che la salute del padre sta peggiorando, la demenza senile avanza implacabile. E Igor, tornato a Viareggio, si trova suo malgrado ad affrontare una crisi familiare che lo costringerà a rimettere insieme i brandelli di due vite, la propria e quella di Herr. L’idiota di famiglia è un romanzo multiforme, dove il personale diventa collettivo e la vicenda individuale si fa storia di un intero secolo. Dalla caduta del Muro di Berlino alla discesa in campo di Berlusconi, e poi indietro, fino alle leggendarie Tre Giornate del 1920, quando si sognò di fare il socialismo in Versilia: la vita e le ossessioni di Herr si elevano a rappresentazione del Novecento con i grandi sogni e le delusioni più amare. E poi, accanto alla politica, si erge la letteratura con i suoi giganti Dostoevskij e Cervantes, forse l’unica forza in grado di resistere al decadimento e di trasformare nel profondo la realtà. Con sarcasmo e tenerezza, tra pagine comiche e passaggi commoventi, Ferrari affronta il rapporto tra padri e figli, le incomprensioni, i conflitti, gli affetti, osservandoli nel momento più difficile: quello in cui i ruoli si capovolgono. E per farlo ci trascina nelle esilaranti storture del mondo culturale, raccontandoci il disagio di una generazione un po’ sgangherata in un romanzo stratificato che è a un tempo satira, romanzo politico e ritratto familiare.

A woman discovers that her bathroom has been remodeled into a prison cell—where she is an unlikely inmate—in this surreal novel of exile, grief, memory, and migration. In Salerno, Italy, Dilara spends her days caring for her aging father and her hypochondriac husband. Since leaving her native Istanbul, she’s been unable to find a job—adrift, she becomes increasingly fixated on domestic improvement, specifically on the renovation of a second bathroom. When the work is completed, she enters and finds herself not in a bathroom but in a prison cell, and a Turkish one at that. As she tries and fails to conceal the unfortunate discovery from her husband, she confronts the prison’s other inhabitants—the buffoonish guards who refuse to believe her conundrum; the other women who begin filling the cells beyond hers—and the strange things that drift through the smell of the Bosporus, her mother’s voice, calls to prayer . . . Has she gone mad? Is she the victim of a terrible prank? Is it a portal, a dream, a simulation? As she burrows deeper into her cell, her life beyond it begins to fall apart—her husband disappears, her father’s grip on reality loosens, political dictatorship threatens to destroy everything worth keeping. In his slender, disquieting first novel, Kenan Orhan tells a story of modern migration like no other. The Renovation is a tragic comedy of displacement, a story that remodels its own form to the dazzling inevitable end.

A woman discovers that her bathroom has been remodeled into a prison cell—where she is an unlikely inmate—in this surreal novel of exile, grief, memory, and migration. In Salerno, Italy, Dilara spends her days caring for her aging father and her hypochondriac husband. Since leaving her native Istanbul, she’s been unable to find a job—adrift, she becomes increasingly fixated on domestic improvement, specifically on the renovation of a second bathroom. When the work is completed, she enters and finds herself not in a bathroom but in a prison cell, and a Turkish one at that. As she tries and fails to conceal the unfortunate discovery from her husband, she confronts the prison’s other inhabitants—the buffoonish guards who refuse to believe her conundrum; the other women who begin filling the cells beyond hers—and the strange things that drift through the smell of the Bosporus, her mother’s voice, calls to prayer . . . Has she gone mad? Is she the victim of a terrible prank? Is it a portal, a dream, a simulation? As she burrows deeper into her cell, her life beyond it begins to fall apart—her husband disappears, her father’s grip on reality loosens, political dictatorship threatens to destroy everything worth keeping. In his slender, disquieting first novel, Kenan Orhan tells a story of modern migration like no other. The Renovation is a tragic comedy of displacement, a story that remodels its own form to the dazzling inevitable end.

The award-winning masterpiece by one of today’s most honored writers! The Word for World is ForestWhen the inhabitants of a peaceful world are conquered by the bloodthirsty yumens, their existence is irrevocably altered. Forced into servitude, the Athsheans find themselves at the mercy of their brutal masters. Desperation causes the Athsheans, led by Selver, to retaliate against their captors, abandoning their strictures against violence. But in defending their lives, they have endangered the very foundations of their society. For every blow against the invaders is a blow to the humanity of the Athsheans. And once the killing starts, there is no turning back. At the publisher's request, this title is being sold without Digital Rights Management software (DRM) applied.

The award-winning masterpiece by one of today’s most honored writers! The Word for World is ForestWhen the inhabitants of a peaceful world are conquered by the bloodthirsty yumens, their existence is irrevocably altered. Forced into servitude, the Athsheans find themselves at the mercy of their brutal masters. Desperation causes the Athsheans, led by Selver, to retaliate against their captors, abandoning their strictures against violence. But in defending their lives, they have endangered the very foundations of their society. For every blow against the invaders is a blow to the humanity of the Athsheans. And once the killing starts, there is no turning back. At the publisher's request, this title is being sold without Digital Rights Management software (DRM) applied.

'It's unbelievable. I just read 200 pages of it and I need the next volume like crack. It's completely blown my mind' Zadie Smith via Twitter. Karl Ove Knausgaard writes with exhilarating honesty about his childhood and teenage years, his infatuation with rock music, his relationship with his loving yet almost invisible mother and his distant and unpredictable father, and his bewilderment and grief on his father's death. When Karl Ove becomes a father himself, he must balance the demands of caring for a young family with his determination to write great literature. A Death in the Family is the first of the six books in the My Struggle cycle. In it Knausgaard has created a universal story which is gripping, hugely readable and written as if the author's very life were at stake. Another international sensation from the publishers of HHhH, 1Q84 and Coetzee's Summertime.

Sulle rive di un inquieto mare incolore, il Cavaliere gioca a scacchi con la Morte. L’ha incontrata al ritorno dalla Crociata in Terra Santa, dove aveva creduto di poter trovare uno scopo alla sua vita nell’azione eroica al servizio di Dio. È tornato amaro e disilluso, con il cuore vuoto, tormentato dalle stesse domande con cui era partito. Per questo ha chiesto una dilazione, sfidando la Morte a una partita che sa di perdere, ma che gli lascerà forse ancora un’occasione per capire, per compiere almeno un’unica azione che ha un senso. È la sospensione il tempo di questa sorta di “Leggenda di Ognuno”, la stessa di quel “silenzio di circa mezz’ora” che avvolge il cielo nell’Apocalisse all’apertura del settimo sigillo: l’attesa di una rivelazione. I vari personaggi, il Cavaliere, il quasi falstaffiano scudiero Jöns, l’attore Skatt, il fabbro Plog e la moglie Lisa, il farabutto Rayal, la Strega-bambina condannata al rogo, vanno incontro al loro destino sullo sfondo di quello scontro tra bianco e nero, luce e tenebre, bene e male, da sempre simbolo della storia umana. Soli superstiti Mia e Jof, la felice coppia di giocolieri, e il loro bambino, che incarnano quell’amore, quella semplicità delle piccole cose, quel frammento di serenità che il Cavaliere riesce a sottrarre alla Morte. Scrivendo una sceneggiatura, dice Bergman, si vorrebbe avere a che fare, invece che con le parole, con qualcosa che somigli a delle note, si sogna una sorta di partitura che possa conservare il ritmo, il tono, ogni minima sfumatura di quelle visioni che sono la vera sostanza da cui nascono i film. Ed è proprio l’inadeguatezza delle parole, la resistenza che offrono a tradursi in immagini, la loro provvisorietà rispetto alle soluzioni poi adottate, che rendono la sceneggiatura del Settimo Sigillo indipendente dalla realizzazione scenica, restituendoci quella parte delle visioni che il cinema non può dare: i profumi, gli odori, i sapori o la malinconia del sole “che rotola sul mare nebbioso come un pesce gonfio d’acqua”.

A radical new examination of the transition into motherhood and how it affects the mind, brain and body During pregnancy, childbirth, and early motherhood, women undergo a far-reaching physiological, psychological and social metamorphosis. Other than during adolescence, there is no other time in a human's life with such dramatic change, yet science, medicine, and philosophy have neglected this life-altering transition. Its seismic effects go largely unrepresented across literature and the arts. Speaking about motherhood as anything other than a pastel-hued dream remains, for the most part, taboo. In this ground-breaking, deeply personal investigation, acclaimed journalist and author Lucy Jones brings to light the emerging concept of 'matrescence'. Drawing on new research across various fields—neuroscience and evolutionary biology; psychoanalysis and existential therapy; sociology, economics and ecology—Jones shows how the changes in the maternal mind, brain, and body are far more profound, wild, and enduring than we have been led to believe. She reveals the dangerous consequences of our neglect of the maternal experience, and interrogates the patriarchal and capitalist systems that have created the untenable situation mothers face today. Here is an urgent examination of the modern institution of motherhood that seeks to unshackle all parents from oppressive social norms. As it deepens our understanding of matrescence, it raises vital questions about motherhood and femininity; interdependence and individual identity; and our relationships with each other and the world.

Claire Keegan’s brilliant debut collection, Antarctica, was a Los Angeles Times Book of the Year, and earned her resounding accolades on both sides of the Atlantic. Now she has delivered her next, much-anticipated book, Walk the Blue Fields, an unforgettable array of quietly wrenching stories about despair and desire in the timeless world of modern-day Ireland.  In the never-before-published story “The Long and Painful Death,” a writer awarded a stay to work in Heinrich Böll’s old cottage has her peace interrupted by an unwelcome intruder, whose ulterior motives only emerge as the night progresses. In the title story, a priest waits at the altar to perform a marriage and, during the ceremony and the festivities that follow, battles his memories of a love affair with the bride that led him to question all to which he has dedicated his life; later that night, he finds an unlikely answer in the magical healing powers of a seer. A masterful portrait of a country wrestling with its past and of individuals eking out their futures, Walk the Blue Fields is a breathtaking collection from one of Ireland’s greatest talents, and a resounding articulation of all the yearnings of the human heart.

As an internet culture critic for The New York Times, Amanda Hess had built a reputation among readers as a sharp observer of the seductions and manipulations of online life. But when she discovered she was pregnant with her first child, she found herself unexpectedly rattled by a digital identity crisis of her own. In the summer of 2020 a routine ultrasound detected a mysterious abnormality in Hess’s baby. Without hesitation, she reached for her phone, looking for answers. But rather than allaying her anxieties, her search sucked her into the destabilizing morass of the internet, and she was vulnerable—more than ever—to conspiracy, myth, judgment, commerce, and obsession. As Hess documents her escalating relationship with the digital world, she identifies how technologies act as portals to troubling ideologies, ethical conflicts, and existential questions, and she illuminates how the American traditions of eugenics, surveillance, and hyper-individualism are recycled through these shiny products for a new generation of parents and their children. At once funny, heartbreaking, and surreal, Second Life is a journey that spans a network of fertility apps, prenatal genetic tests, gender-reveal videos, rare-disease Facebook groups, “freebirth” influencers, and hospital reality shows. Hess confronts technology’s distortions as they follow her through pregnancy and into her son’s early life. The result is a critical record of our digital age that reveals the unspoken ways technology fractures and reconstitutes our lives.

'It's unbelievable. I just read 200 pages of it and I need the next volume like crack. It's completely blown my mind' Zadie Smith via Twitter. Karl Ove Knausgaard writes with exhilarating honesty about his childhood and teenage years, his infatuation with rock music, his relationship with his loving yet almost invisible mother and his distant and unpredictable father, and his bewilderment and grief on his father's death. When Karl Ove becomes a father himself, he must balance the demands of caring for a young family with his determination to write great literature. A Death in the Family is the first of the six books in the My Struggle cycle. In it Knausgaard has created a universal story which is gripping, hugely readable and written as if the author's very life were at stake. Another international sensation from the publishers of HHhH, 1Q84 and Coetzee's Summertime.

From “one of the most important, politically vital and morally bracing writers of his generation” (The Guardian), an unflinching account of Édouard Louis’s brother’s life and death.Édouard’s brother spent much of his life dreaming. He lived in a poor, working-class world, where he imagined that he would become one of the finest butchers in France, that he would travel, that he would make his fortune, that he would restore cathedrals, and that his father, who had disappeared, would return and love him.But there was no way to escape, no one who could show him how, and everything about him—his drinking, his violence, his behavior with women and with others—condemned him.At thirty-eight, after years of failure and depression, he was found dead on the floor of his small studio apartment. This book is the story of his collapse.Édouard Louis traces the life of a man who was in many ways violent, misogynistic, homophobic, brutal. But where might understanding begin, and how far can it extend? In Collapse, Louis pursues every angle for answers—newly consulting writers and psychoanalysts and questioning his siblings, his mother, his brother’s partners, and himself. From an outpouring of memory and pain comes a radical gesture of dignity and forgiveness.

From “one of the most important, politically vital and morally bracing writers of his generation” (The Guardian), an unflinching account of Édouard Louis’s brother’s life and death.Édouard’s brother spent much of his life dreaming. He lived in a poor, working-class world, where he imagined that he would become one of the finest butchers in France, that he would travel, that he would make his fortune, that he would restore cathedrals, and that his father, who had disappeared, would return and love him.But there was no way to escape, no one who could show him how, and everything about him—his drinking, his violence, his behavior with women and with others—condemned him.At thirty-eight, after years of failure and depression, he was found dead on the floor of his small studio apartment. This book is the story of his collapse.Édouard Louis traces the life of a man who was in many ways violent, misogynistic, homophobic, brutal. But where might understanding begin, and how far can it extend? In Collapse, Louis pursues every angle for answers—newly consulting writers and psychoanalysts and questioning his siblings, his mother, his brother’s partners, and himself. From an outpouring of memory and pain comes a radical gesture of dignity and forgiveness.