Terminei de ler Catedrais, um romance de Claudia Piñeiro que me deixou totalmente envolvido por três dias. Fico me perguntando se há uma possível adaptação para o cinema. – Pedro Almodóvar Em um terreno baldio de um bairro tranquilo, o corpo de uma adolescente é encontrado esquartejado e queimado. Passados trinta anos, o crime continua sem solução e a família e o entorno da jovem desmoronaram. Quando finalmente a verdade é descoberta, revela a crueldade a que podem conduzir a obediência e o fanatismo religioso; a cumplicidade dos medrosos e indiferentes, e também a solidão e o desamparo daqueles que ousam seguir o seu próprio caminho. Em Catedrais, um suspense que se desenrola a partir de múltiplos pontos de vista, Claudia Piñeiro investiga com maestria os laços familiares, os preconceitos sociais e as ideologias e instituições que marcam os mundos privados, e nos presenteia com uma visão comovente e corajosa, precisa como uma flecha cravada no coração deste drama secreto.

A fierce, unforgettable novel set in the juvenile prison island of Nisida - for readers of Elena Ferrante and The End of Eddy.Zeno is fifteen years old, a minor by law, but he grew up long ago in the dusty heat of Naples. Winding down cobbled streets on his motorbike, he delivers baggies and picks pockets, doing whatever it takes to put food on the table and steal a few precious moments of freedom with his girlfriend, Natalina, in the city's starlit piazzas.That's until a rival gang member pulls up beside him with a gun, and Zeno ends up on the brutal prison island of Nisida. Separated from all he loves by the cruel, glittering sea, with a cell window looking out at distant beaches, Zeno promises to write down the story of his life in exchange for a visit home. But the sea has eyes everywhere, and someone on the outside wants revenge.Boldly original and deeply humane, So People Know It's Me unleashes Zeno's luminous, unguarded and defiant voice - dreaming of a fragile future beyond Nisida's walls.'Highly original and surprising' La Gazzetta di San Severo'A dark tale set in the juvenile prison of Nisida' Il Napolista'Illuminates and unfolds new spaces for an existence too often ignored' Il Manifesto'The inimitable soul of Naples is at the very heart of this astonishing book' Corse Matin

The fascinating history of women’s health as it’s never been told before. For as long as medicine has been a practice, women's bodies have been treated like objects to be practiced on: examined and ignored, idealized and sexualized, shamed, subjugated, mutilated, and dismissed. The history of women’s healthcare is a story in which women themselves have too often been voiceless—a narrative instead written from the perspective of men who styled themselves as authorities on the female of the species, yet uninformed by women’s own voices, thoughts, fears, pain and experiences. The result is a cultural and societal legacy that continues to shape the (mis)treatment and care of women. While the modern age has seen significant advancements in the medical field, the notion that female bodies are flawed inversions of the male ideal lingers on—as do the pervasive societal stigmas and lingering ignorance that shape women’s health and relationships with their own bodies. Memorial Sloan Kettering oncologist and medical historian Dr. Elizabeth Comen peels back the curtain on the collective medical history of women to reintroduce us to our whole bodies—how they work, the actual doctors and patients whose perspectives and experiences laid the foundation for today’s medical thought, and the many oversights that still remain unaddressed. With a physician’s knowledge and empathy, Dr. Comen follows the road map of the eleven organ systems to share unique and untold stories, drawing upon medical texts and journals, interviews with expert physicians, as well as her own experience treating thousands of women. Empowering women to better understand ourselves and advocate for care that prioritizes healthy and joyful lives—for us and generations to come—All in Her Head is written with humor, wisdom, and deep scientific and cultural insight. Eye-opening, sometimes enraging, yet always captivating, this shared memoir of women’s medical history is an essential contribution to a holistic understanding and much-needed reclaiming of women’s history and bodies.

From the award-winning New York Times and Indie bestselling author of Ace of Spades comes a mystery about five teen geniuses, their billionaire father, and the aftermath of his murder—perfect for fans of The Inheritance Games, Holly Jackson, and How to Get Away with Murder!Five prodigies, one dead father, a mansion full of suspects…Octavius the Maestro.Fola the Brain.Bilal the Olympian.Perdita the Artist.Romeo the Failure.These are the five heirs of the illustrious billionaire Leontes Button. Adopted and viciously trained with their father’s infamous “Button Method” to prove his hypothesis for creating prodigies—child geniuses—the Button siblings have had no choice but to be brilliant according to their father's impossibly high standards.Until he is murdered at his annual Prodigy Ball.Now, all who attended the ball are required to stay in the Button Manor while the police investigate. But the officers have their work cut out for them—each of the Button siblings has something to hide, but The Heirs aren't the only ones with secrets. After all, Leontes Button was especially good at making enemies. . .

An enthralling sapphic retelling of Swan Lake, for fans of Allison Saft and V.E Schwab.Magic has long been outlawed in Auréal. Odile has always known she’d be the one to restore it.Raised by a sorcerer, Odile has spent years preparing for the heist of a lifetime. It’s perfectly simple. Impersonate a princess, infiltrate the palace, steal the king's enchanted crown and restore magic to the kingdom.But when the King is unexpectedly murdered, she’s forced to recruit the help of Marie d'Odette, the real princess, and the two begin to unravel a web of lies and deceit that leaves Odile uncertain of who to trust.Soon though Odile must decide – her mission or the girl she’s falling for?The fate of the Kingdom depends on her making the right choice. . .

Ivy Gamble has never wanted to be magic. She is perfectly happy with her life life—she has an almost-sustainable career as a private investigator, and an empty apartment, and a slight drinking problem. It's a great life and she doesn't wish she was like her estranged sister, the magically gifted professor Tabitha. But when Ivy is hired to investigate the gruesome murder of a faculty member at Tabitha’s private academy, the stalwart detective starts to lose herself in the case, the life she could have had, and the answer to the mystery that seems just out of her reach.

From the New York Times bestselling author of Ninth House, Hell Bent, and creator of the Grishaverse series comes a highly anticipated historical fantasy set during the Spanish Golden Age In a shabby house, on a shabby street, in the new capital of Madrid, Luzia Cotado uses scraps of magic to get through her days of endless toil as a scullion. But when her scheming mistress discovers the lump of a servant cowering in the kitchen is actually hiding a talent for little miracles, she demands Luzia use those gifts to better the family's social position. What begins as simple amusement for the bored nobility takes a perilous turn when Luzia garners the notice of Antonio Pérez, the disgraced secretary to Spain's king. Still reeling from the defeat of his armada, the king is desperate for any advantage in the war against England's heretic queen—and Pérez will stop at nothing to regain the king's favor. Determined to seize this one chance to better her fortunes, Luzia plunges into a world of seers and alchemists, holy men and hucksters, where the line between magic, science, and fraud is never certain. But as her notoriety grows, so does the danger that her Jewish blood will doom her to the Inquisition's wrath. She will have to use every bit of her wit and will to survive—even if that means enlisting the help of Guillén Santangel, an embittered immortal familiar whose own secrets could prove deadly for them both.

From the nationally bestselling author of the “powerful, heartbreaking” (Shelf Awareness) The Stationery Shop, a heartfelt, epic new novel of friendship, betrayal, and redemption set against three transformative decades in Tehran, Iran. In 1950s Tehran, seven-year-old Ellie lives in grand comfort until the untimely death of her father, forcing Ellie and her mother to move to a tiny home downtown. Lonely and bearing the brunt of her mother’s endless grievances, Ellie dreams of a friend to alleviate her isolation. Luckily, on the first day of school, she meets Homa, a kind, passionate girl with a brave and irrepressible spirit. Together, the two girls play games, learn to cook in the stone kitchen of Homa’s warm home, wander through the colorful stalls of the Grand Bazaar, and share their ambitions for becoming “lion women.” But their happiness is disrupted when Ellie and her mother are afforded the opportunity to return to their previous bourgeois life. Now a popular student at the best girls’ high school in Iran, Ellie’s memories of Homa begin to fade. Years later, however, her sudden reappearance in Ellie’s privileged world alters the course of both of their lives. Together, the two young women come of age and pursue their own goals for meaningful futures. But as the political turmoil in Iran builds to a breaking point, one earth-shattering betrayal will have enormous consequences. Written with Marjan Kamali’s signature “evocative, devastating, and hauntingly beautiful” (Whitney Scharer, author of The Age of Light) prose, The Lion Women of Tehran is a sweeping exploration of how profoundly we are shaped by those we meet when we are young, and the way love and courage transforms our lives.

'O corpo antes da roupa', afirma o personagem de 'Um copo de cólera' ao narrar o que acontece numa manhã qualquer, depois de uma noite de amor, quando a aparente harmonia entre ele e sua parceira se rompe de repente. Tensa, contundente, a linguagem de 'Um copo de cólera' alcança tal intensidade e vibração que faz desta narrativa uma obra singular da literatura brasileira, um clássico dos nossos tempos.

«O Nariz, um conto do absurdo, claro, mas de um absurdo de dois bicos: age sobre o trivial, mas também o trivial age sobre ele, tornando-o estranhamente verosímil. Portanto, nada de fantasias! Podemos fartar-nos de estabelecer paralelos com os antecedentes românticos em que se perdia magicamente qualquer coisa: ora o coração, ora a sombra, ou então era o nariz que crescia—mas sentimos sempre uma diferença nítida: em Gógol não encontramos o ambiente de enigma: a suposição dos efeitos de magia como causa do acontecimento é rejeitada de imediato (a carta da “vítima” com as acusações balbuciantes de bruxaria, em que nem ele próprio acredita, e a carta de resposta da acusada que nem sequer percebeu as insinuações e que por isso lhes dá uma interpretação muito prosaica e, como tal, cómica). Nada de magias! Esta, aliás, é uma das particularidades da escrita russa, a partir de Púchkin: por mais misticismos, crenças, superstições, por mais almas que andem no ar, o escritor tem sempre os pés assentes na terra e alimenta dela a sua inspiração. Iúri Mann (O Sistema Poético de Gogol, Moscovo, 1978) escreve que as ligações genéticas dos contos de Gógol com a literatura do romantismo (Hofmann, Chamisso) já estão suficientemente estudadas pela crítica. O que faltava era descobrir a mudança fundamental que esta tradição sofreu em Gógol. O motivo da perda pelo herói de uma parte do seu Eu, seja corporal, seja espiritual, estava ligado, na tradição romântica, com a acção de forças sobrenaturais. Em O Nariz não existe portador nem personificação da força não-real. Não se descortina culpado e, pelos vistos, não existe. Existe apenas facto. E também a atitude das personagens para com o facto. Não há culpado, não há explicação do fenómeno. O leitor espera involuntariamente qualquer esclarecimento — mas o narrador afasta-se, põe a máscara do “censor” e prega ao leitor uma partida (“não percebo absolutamente nada”, diz) e, ainda por cima, declara que “acontecem coisas destas no mundo—raramente, mas acontecem”; depois sai de cena, deixando o leitor de mãos a abanar…»