Family Genre

Une fois n'est pas coutume : la vérité sort de la bouche des parents ! " Ils vécurent heureux et eurent beaucoup d'enfants... " Les contes ne racontent pas la suite. Et pour cause. Être parent n'est pas un chemin bordé de roses ! Qui n'a jamais eu " mal à ses enfants " ? D'où les petites crises de daronnalgie, ces douleurs spécifiques à la parentalité : air pompé, sang d'encre et cheveux blancs, porte-monnaie troué, oubli de soi chronique.

An IndiBound best seller, The Days of Abandonment shocked and captivated its Italian public when first published. It is the gripping story of a woman's descent into devastating emptiness after being abandoned by her husband, with two young children to care for. When she finds herself literally trapped within the four walls of their high-rise apartment, she is forced to confront her ghosts, the potential loss of her own identity, and the possibility that life may never return to normal.

An old man lies dying. Confined to bed in his living room, he sees the walls around him begin to collapse, the windows come loose from their sashes, and the ceiling plaster fall off in great chunks, showering him with a lifetime of debris: newspaper clippings, old photographs, wool jackets, rusty tools, and the mangled brass works of antique clocks. Soon, the clouds from the sky above plummet down on top of him, followed by the stars, till the black night covers him like a shroud. He is hallucinating.

Lillie Silva knew life as an empty nester would be hard after her only child left for college, but when her husband abruptly dumps her for another woman just as her son leaves, her world comes crashing down. Besides the fact that this announcement is a complete surprise (to say the least), what shocks Lillie most is that she isn't...heartbroken. She's furious. Lillie has loved her life on Cape Cod, but as a mother, wife and nurse-midwife, she's used to caring for other people...not taking care of herself.

Cam et Max nagent en eaux troubles. Eux qui ont toujours cru que le plus difficile était de se déclarer leur amour sont rendus à la prochaine étape: celle de la passion à entretenir. La question pour eux n’est donc plus «doit-on prendre le risque d’aimer?», mais plutôt «comment fait-on pour que l’amour perdure?»

What if family were not the only place you might hope to feel safe, loved, cared for, and accepted? What if we could do better than the family? We need to talk about the family. For those who are lucky, families can be filled with love and care, but for many they are sites of pain: from abandonment and neglect, to abuse and violence. Nobody is more likely to harm you than your family.

Published two weeks after Vladimir Nabokov’s seventieth birthday, Ada, or Ardor is one of his greatest masterpieces, the glorious culmination of his career as a novelist. It tells a love story troubled by incest, but it is also at once a fairy tale, epic, philosophical treatise on the nature of time, parody of the history of the novel, and erotic catalogue. Ada, or Ardor is no less than the supreme work of an imagination at white heat. This is the first American edition to include the extensive and ingeniously sardonic appendix by the author, written under the anagrammatic pseudonym Vivian Darkbloom.

Moments after Lisbeth is born, she’s taken from her mother and handed over to an enslaved wet nurse, Mattie, a young mother separated from her own infant son in order to care for her tiny charge. Thus begins an intense relationship that will shape both of their lives for decades to come. Though Lisbeth leads a life of privilege, she finds nothing but loneliness in the company of her overwhelmed mother and her distant, slave-owning father.

Je me souvenais qu'un jour, dans une plaisanterie sans gaîté, Charlotte m'avait dit qu'après tous ses voyages à travers l'immense Russie, venir à pied jusqu'en France n'aurait pour elle rien d'impossible [...]. Au début, pendant de longs mois de misère et d'errances, mon rêve fou ressemblerait de près à cette bravade. J'imaginerais une femme vêtue de noir qui, aux toutes premières heures d'une matinée d'hiver sombre, entrerait dans une petite ville frontalière [...].

As the Great War continues to take its toll, headstrong 21-year-old Emily Bryce is determined to contribute to the war effort. She is convinced by a cheeky and handsome Australian pilot that she can do more, and it is not long before she falls in love with him and accepts his proposal of marriage. When he is sent back to the front, Emily volunteers as a “land girl,” tending to the neglected grounds of a large Devonshire estate. It’s here that Emily discovers the long-forgotten journals of a medicine woman who devoted her life to her herbal garden.

Tama is just a helpless chick when he is rescued by Marnie, and this is where his story might have ended. “If it keeps me awake,” says Marnie's husband Rob, a farmer, “I'll have to wring its neck.” But with Tama come new possibilities for the couple's future. Tama can speak, and his fame is growing. Outside, in the pines, his father warns him of the wickedness wrought by humans. Indoors, Marnie confides in him about her violent marriage. The more Tama sees, the more the animal and the human worlds—and all the precarity, darkness and hope within them—bleed into one another.

1950, Stretton Village, Cambridgeshire. Emily's troubles continue as she tries to manage the Vanbrough estate, which has been left in trust for her son. Is there hope she can find new love and happiness? Frances has survived a fate worse than death but can she find a new life in Cornwall? Daniel is home with his family. Can he make a go of things and what will happen when the past comes back to haunt him? Connor is all grown up. A chance meeting could lead to love, fame and fortune. But opportunities don’t come without peril…

Palestine, 1948. Half a million Palestinians are forced from their homes. A mother clutches her six-month-old son as Israeli soldiers march through the village of Ein Hod. In a split second, her son is snatched from her arms and the fate of the Abulheja family is changed forever. Forced into a refugee camp in Jenin and exiled from the ancient village that is their lifeblood, the family struggles to rebuild their world.

There were a lot of things that I could live without. I had lived without freedom for the past fifteen years. My wife was someone that I couldn't live without, and I needed her. Alaia saved a lot of people with just a touch of her hand on my arm. She calmed the beast within me, reminded me what I had at home. Alaia was someone that I refused to live without, and now, they took her from me. They touched my wife and thought they would be able to live to talk about it. You didn't touch a Delgato and thought you would live. You didn't touch what was mine and think you could live.

Suzi did a bad thing. She’s paying for it now, pregnant, scared, and living in an isolated cottage with her jealous husband, Nick. When Nora moves into the only house nearby, Suzi is delighted to have a friend. So much so that she’s almost tempted to tell Nora her terrible secret. But there’s more to Nora than meets the eye. It’s impossible - does she already know what Suzi did?

From the author of Sunday Times and New York Times best seller Damaged, the gripping story of a woman caught in a horrific cycle of abuse - and the desperate lengths she must go to in order to escape. When Aisha spots an ad for a 'personal introductory service for professionals' in the newspaper, she could never have guessed it would lead to such a perfect marriage. But you should be careful what you wish for.... Mark is sorry the first time he hits Aisha.

The last in the Afrolit Now series, The Sins of The Fathers by Zukiswa Wanner is narrated by a man dealing with immense grief. When he’s unable to heal from the trauma of loss, Akani begins to question his and his father’s role as a parent and, in doing so, awakens to the patterns between them. In trying to avoid being like his father as a husband and as a parent, did he inadvertently become exactly the man he wished not to be? And what secrets lie untold? As he grieves, he wonders whether he was ill-advised to keep secrets that may unwittingly hurt his family.

A writer who's blocked - I'm a total cliche. Lucky for me, my agent has a cure that's an even bigger stereotype - a month at her villa in Tuscany, with nothing to do but find my muse. When he walks right in the front door, adorable son in tow, it feels like fate has finally done for me what it does for every other cliched girl I've seen in the movies. Except that he's completely off-limits. In this case, business and pleasure can never mix. Because Claudio is my agent's ex.

Mabel Beaumont’s husband Arthur loved lists. He’d leave them for her everywhere. ‘Remember: eggs, butter, sugar’. ‘I love you: today, tomorrow, always’. But now Arthur is gone. He died: softly, gently, not making a fuss. But he’s still left her a list. This one has just one item on it though: ‘Find D’. Mabel feels sure she knows what it means. She must track down her best friend Dot, who she hasn’t seen since the fateful day she left more than sixty years ago.

In A Kid from Marlboro Road, past and present intermingle as family stories are told and retold. The narrative careens between the prior generation’s colorful sojourns in the Bronx and Hell’s Kitchen and the softer world of Gibson, the town on Long Island where they live now. There are scenes in the Rockaways, at Belmont racetrack, and in Montauk. Edward Burns’s buoyant first novel is a bildungsroman, yet out of one boy’s story a collective warmth emerges, a certain kind of American tale, raucous and joyous.