In March 2020, a young woman spends the night in the Louvre. At home: her nine-month-old son. In her overnight bag: a notebook, a toiletry kit, a duvet, a cube of nougat, and something that shouldn't be there. In her head: memories of the Venus de Milo, of land art and the American road, of romance and travel and immigration and war ―and of her father, who after each of their many visits to the Louvre would ask just how she'd go about stealing the Mona Lisa. An insightful and heartfelt meditation on the possibilities and impossibilities of art, on parenthood and the betrayals of growing up, on foreignness and belonging, and on the secret conversations between our souls and the places that linger in our dreams. Let's go back even further, my father said. It's not even certain that the original purpose of what we call art was to be seen. In a way, we could go so far as to say that art, what we call art, is made less to be seen than to be stolen. Winner of the Prix Medicis Essai 2021

Si l’on s’en tient aux faits, l’auteure passe la nuit du 7 au 8 mars 2020 au musée du Louvre, section des Antiques, salle des Cariatides, avec un sac en bandoulière dans lequel il y a, entre autres, une barre de nougat illicite. Les faits, heureusement, ne sont rien dans ce livre personnel, original, traversé d’ombres nocturnes et de fantômes du passé, de glissades pieds nus sous la Vénus de Milo, ce livre joyeux et mélancolique, qui précise vite son intention : « Je suis venue ici cette nuit pour redevenir la fille de mon père. » Quel père, en fait ? Celui, biologique, né en 1951 dans un village du Monténégro, alors une partie de la défunte Yougoslavie, qui vient à Paris par amour, par fuite, pour voir le Louvre, une ville dans la ville, un père qui ne sait pas bien parler le français et voit tout en noir et blanc. Celui, plus probable, le père exilé à qui l’on a dit que « sa fille ne parlera jamais français », l’esthète-pilleur qui se promène l’air de rien avec sa fille Jakuta au Louvre, et lui demande, lui transmet en héritage : « Et toi, comment t’y prendrais-tu pour voler la Joconde ? ». En effet : comment ?   Même si l’auteure exprime que « la honte vous rassemble bien mieux que le reste », il serait aisé, après la lecture, d’affirmer que l’amour, celui réciproque d’un père pour sa fille unique, vous rassemble et vous tient debout. Comme la Vénus de Milo, les siècles durant. 

In their comics debut, Theo Parish masterfully weaves an intimate and defiantly hopeful memoir about the journey one nonbinary person takes to find a home within themself. Combining traditional comics with organic journal-like interludes, Theo takes us through their experiences with the hundred arbitrary and unspoken gender binary rules of high school, from harrowing haircuts and finally the right haircut to the intersection of gender identity and sexuality—and through tiny everyday moments that all led up to Theo finding the term “nonbinary,” which finally struck a chord.  “Have you ever had one of those moments when all of a sudden things become clear…like someone just turned on a light?” A whole spectrum of people will be drawn to Theo’s storytelling, from trans or questioning teens and adults, to folks who devoured Gender Queer by Maia Kobabe or The Fire Never Goes Out by ND Stevenson, to any person looking to dive a little deeper into the way gender can shape identity. Throughout the book, Theo’s crystal-clear voice reminds the reader that it’s okay not to know, it’s okay to change your mind, and it’s okay to take your time finding your way home. “We are all just trying to find a place to call our own. We are all deserving of comfort and safety, a place to call home.”

NEW YORK TIMES BESTSELLER • The award-winning, bestselling author of Hamnet and The Marriage Portrait returns with a soaring historical novel set in Ireland in the years before and after the Great Hunger. “A breathtaking hymn to the sanctity of natural spaces, operating on timescales both intimate and geological. I finished Land moved not only by the vivid lives of its human characters, but the thrumming, gorgeous presence of its mosses, waters, winds, and skies.” —Daniel Mason, author of North Woods On a windswept peninsula stretching out into the Atlantic, Tomás and his reluctant son, Liam, are working for the great Ordnance Survey project to map the whole of Ireland. The year is 1865, and in a country not long since ravaged and emptied by the Great Hunger, the task is not an easy one. Tomás, however, is determined that his maps will be a record of the disaster. The British soldiers in charge are due to arrive any day, expecting the work to be completed, but Tomás is unexpectedly sent off course by an unsettling encounter in a copse. His life, and the lives of those of his family, will never be the same again. Liam is terrified by the sudden change in his taciturn father. What was it that caused such cracks to open in Tomás, and how is Liam, aged only ten, going to finish the mapping and get them both home? Land is a novel about separation and reunion, tragedy and recovery, colonization and rebellion. It is a story of buried treasure, overlapping lives, ancient woodland, persistent ghosts, a particularly loyal dog, and how, when it comes to both land and history, nothing ever goes away. As spellbinding and varied as the landscape that inspired it, Land is, above all, a story of survival, for our times and for all time.

A collection of short stories by Katherine Mansfield, widely recognized as one of the greatest writers of her period, that capture with accuracy those emotionally-charged moments when an individual is most revealing. Prelude Je ne parle pas français Bliss The wind blows Psychology Pictures The man without a temperament Mr. Reginald Peacock's day Sun and moon Feuille d'album A dill pickle The little governess Revelations The escape

In a German Pension is a remarkable collection of short stories, displaying all Katherine Mansfield’s skill in the genre. Written shortly after the author visited Germany as a young woman, these short stories form a series of satirical sketches of German characters. From a young wife’s preoccupation with her husband’s stomach, to a society lady’s inability to see beyond the latest fashion, Katherine Mansfield depicts, in exquisite detail, the minute changes of human behavior. In a German Pension reveals her as a true disciple of Chekhov. A key figure in the Modernist movement, Katherine Mansfield is most remarkable for perfecting the art of the short story.