Adriana Hunter Libri

The timely, powerful memoir of a man unjustly charged with a crime for helping his relatives, refugees from Syria. For trying to save his in-laws, who were fleeing certain death in Syria, Stéphan Pélissier was threatened with fifteen years in prison by the Greek justice system, which accused him of human smuggling. His crime? Having gone to search for the parents, brother, and sister of his wife, Zéna, in Greece rather than leaving them to undertake a treacherous journey by boat to Italy. Their joy on finding each other quickly turned into a nightmare: Pélissier was arrested as a result of a missing car registration and thrown into prison. Although his relatives were ultimately able to seek asylum—legally—in France, Pélissier had to fight to prove his innocence, and to uphold the values of common humanity and solidarity in which he so strongly believes. I Just Wanted to Save My Family offers a heartrending window into the lives of those displaced by the Syrian civil war and a scathing critique of the often absurd, unfeeling bureaucracies that determine their fates.

Bustle: Best Book of the Month From the critically acclaimed author of The Heart: Frida Kahlo in Paris, a fascinating, intimate portrait of one of Japan’s most influential and respected textile artists. Writer, filmmaker, and photographer Marc Petitjean finds himself in Kyoto one fine morning with his camera, to film a man who will become his friend: Kunihiko Moriguchi, a master kimono painter and Living National Treasure—like his father before him. As a young decorative arts student in the 1960s, Moriguchi rubbed shoulders with the cultural elite of Paris and befriended Balthus, who would profoundly influence his artistic career. Discouraged by Balthus from pursuing design in Europe, he returned to Japan to take up his father’s vocation. Once back in this world of tradition he had tried to escape, Moriguchi contemporized the craft of Yūzen (resist dyeing) through his innovative use of abstraction in patterns. With a documentarian’s keen eye, Petitjean retraces Moriguchi’s remarkable life, from his childhood during the turbulent 1940s and 50s marked by war, to his prime as an artist with works exhibited in the most prestigious museums in the world.

An eloquent, heartfelt account of a young boy's fight with cancer and of a mother's determination and resilience, which see their family through to his recovery. As her ten-year-old son sits at the kitchen table one evening, Lise Marzouk inspects his mouth and discovers an unusual growth, which doctors later confirm is cancerous. When he is hospitalized at the Curie Institute in Paris for lymphoma treatment, Lise finds herself torn between two worlds, one at his bedside, and the other at home with her two younger children, struggling to maintain a sense of stability in their lives. And so she writes—of their fears and doubts, but also of their moments of tenderness and joy—and through these memories, stories, and reveries, she arrives at a deeper understanding of herself as a woman, a mother, and a writer. Brimming with a rebellious sense of hope, If offers an intimate look at how a mother's love and support enabled her family to come out of a devastating experience stronger and more connected.

È un sabato come tanti per Julia: sushi a domicilio, una puntata del Trono di spade con la testa appoggiata sulla pancia di Marc – se fosse stata un gatto avrebbe pure fatto le fusa... Ma quel giorno riceve la telefonata che la informa della morte del padre, e Julia si trova ad affrontare la caducità della vita. La paura e lo sconforto la assalgono, e quando poco dopo scompare anche la sua amatissima nonna, Julia si sente completamente paralizzata. Purtroppo persino Marc si rivela un punto di riferimento non affidabile... Julia decide così di dare un taglio netto a tutto: lascia Parigi e si prende una sorta di anno sabbatico trasferendosi nel residence per anziani di Biarritz, la sua città di origine, per lavorare come psicologa. Nonostante grandi incertezze circondino la sua scelta piuttosto singolare e benché si renda conto che "è più facile fare amicizia con un unicorno che farsi piacere un ospizio", Julia non perde l'ironia che l'ha sempre caratterizzata. Dopo poco tempo, infatti, si ritrova perfettamente integrata in quella che si rivela essere una bizzarra comunità, un'oasi felice, un istituto "illuminato" che organizza per i suoi ospiti moltissime attività ricreative (tra cui un'ora quotidiana di telenovela, gite al mare, scambi generazionali attraverso l'incontro con bambini e adolescenti). Julia si accorge che i residenti hanno tante cose da insegnarle, forse molte di più di quelle che lei può dare a loro. È difficile immaginare che si possa superare la paura della morte in una clinica per anziani, eppure, dalle persone che la circondano, Julia sta imparando la resilienza: tutte hanno sofferto, tutte si sono rialzate senza perdere il sorriso. Nonni burloni ed energici e colleghe fantasiose dal cuore spezzato le insegnano che la felicità è nel presente, nelle piccole cose che si raccolgono lungo il percorso accidentato dell'esistenza, dove anche l'amore può inaspettatamente fare capolino da dietro l'angolo...

This intimate account offers a new, unexpected understanding of the artist’s work and of the vibrant 1930s surrealist scene. In 1938, just as she was leaving Mexico for her first solo exhibition in New York, Frida Kahlo was devastated to learn from her husband, Diego Rivera, that he intended to divorce her. This latest blow followed a long series of betrayals, most painful of all his affair with her beloved younger sister, Cristina, in 1934. In early 1939, anxious and adrift, Kahlo traveled from the United States to France—her only trip to Europe, and the beginning of a unique period of her life when she was enjoying success on her own. Now, for the first time, this previously overlooked part of her story is brought to light in exquisite detail. Marc Petitjean takes the reader to Paris, where Kahlo spends her days alongside luminaries such as Pablo Picasso, André Breton, Dora Maar, and Marcel Duchamp. Using Kahlo’s whirlwind romance with the author’s father, Michel Petitjean, as a jumping-off point, The Heart: Frida Kahlo in Paris provides a striking portrait of the artist and an inside look at the history of one of her most powerful, enigmatic paintings.

This is ostensibly a detective story, about a crime that is committed in 1917, and solved 20 years later. The location is a small town in Northern France, near V., in the dead of the freezing winter. The war is still being fought in the trenches, within sight and sound of the town, but the men of the town have been spared the slaughter because they are needed in the local factory. One morning a beautiful ten year old girl, one of the three daughters of the innkeeper, is found strangled and dumped in the canal. Suspicion falls on two deserters who are picked up near the town. Their interrogation and sentencing is brutal and swift. Twenty years later, the narrator, a local policeman, puts together what actually happened. On the night the deserters were arrested and interrogated, he was sitting by the bedside of his dying wife. He believes that justice was not done and wants to set the record straight. But the death of the child was not the only crime committed in the town during those weeks. More than one record has to be set straight. Beautiful, like a fairy story almost, frozen in time, this novel has an hypnotic quality.

Amelie, a well-intentioned and eager young westerner, goes to Japan to spend a year working at the Yumimoto Corporation. Returning to the land where she was born is the fulfilment of a dream for Amelie, but once there her working life quickly becomes a comic nightmare of terror and self-abasement. Disturbing, hilarious and totally convincing, Fear and Trembling displays an elegant and shrewd understanding of the intricate ways in which Japanese relationships are made and spoiled.

This intimate account offers a new, unexpected understanding of the artist’s work and of the vibrant 1930s surrealist scene. In 1938, just as she was leaving Mexico for her first solo exhibition in New York, Frida Kahlo was devastated to learn from her husband, Diego Rivera, that he intended to divorce her. This latest blow followed a long series of betrayals, most painful of all his affair with her beloved younger sister, Cristina, in 1934. In early 1939, anxious and adrift, Kahlo traveled from the United States to France—her only trip to Europe, and the beginning of a unique period of her life when she was enjoying success on her own. Now, for the first time, this previously overlooked part of her story is brought to light in exquisite detail. Marc Petitjean takes the reader to Paris, where Kahlo spends her days alongside luminaries such as Pablo Picasso, André Breton, Dora Maar, and Marcel Duchamp. Using Kahlo’s whirlwind romance with the author’s father, Michel Petitjean, as a jumping-off point, The Heart: Frida Kahlo in Paris provides a striking portrait of the artist and an inside look at the history of one of her most powerful, enigmatic paintings.

Come si forma una coppia? Quanto a lungo può durare e quando finisce un grande amore? Come possono due coppie, quindi quattro persone, dare vita a combinazioni diverse? Con il suo humor e la sua straordinaria padronanza della parola e dei meccanismi della narrazione, Hervé Le Tellier ci mette di fronte a interrogativi che segnano la vita di tutti. Uno psichiatra, Thomas Le Gall, ha un'avventura con Louise, avvocato sposata con Romain. Anna Stein è medico, come Stan, suo marito. Incontrerà Yves Janvier, che è uno scrittore e lascerà Ariane. Thomas è lo psichiatra di Anna e si interessa a Yves di cui lei gli parla... Non è una banale commedia quella che ci viene raccontata nel seguire questo cast di mogli, mariti e amanti che riscoprono il colpo di fulmine quando la loro vita sembrava essersi definitivamente assestata, e che si trovano all'improvviso costretti a cercare di riconciliare valori e passioni, affetti e libertà. "Il desiderio non accetta spiegazioni semplici" osserva Le Tellier. "Quando non sai dove andare, non importa che strada prendi." Sai soltanto, si potrebbe aggiungere, che il prezzo da pagare sarà comunque alto. Il risultato è un romanzo di sofisticata eleganza e intelligenza che ne ha per tutti, che fa riflettere e al tempo stesso fa sorgere il sorriso sulle labbra. Un romanzo sull'attrazione, la responsabilità e l'amore, scritto con divertita ironia, ma anche con intensa e profonda conoscenza dell'animo umano da uno degli scrittori più originali di Francia.

Beguiling and ambitious, this new novel by the author of Balzac and the Little Chinese Seamstress, is ostensibly a search for an ancient text, and a love story. But beneath that is a haunting tale about language and identity, about the shifting layers of history under the confusing surface of Chinese life and politics, with a final Buddhist twist. A young French woman in Peking in the late 1970s interprets between Chinese professors and Bertolucci for his film The Last Emperor. Afterwards, she follows a disgruntled old professor who tells her about a text believed to be taken directly from Buddha's teachings and inscribed on silk cloth centuries ago. It was written in a now-dead language called Tumchooq (coincidentally, the name of a young Chinese man she has just met), so beautiful in its simplicity it is almost impossible to render accurately in translation. Puyi, the last emperor and last owner of this relic, allegedly tore the silk in two with his teeth while being flown to Manchuria by the Japanese, and threw the fragments from the plane. Only half of the mutilated manuscript was recovered, and the reader, like the narrator, must wait till the end of the novel to discover the rest. When the complete text is finally pieced together, its message is devastatingly simple, and all the more poignant because it has taken such sacrifice and effort to decipher. Comprising ancient texts and fables, stories within stories, and a young man's desperate search for his father's legacy, this brilliant novel, covering almost a century of China's history, has the modernity and tenderness of the film, Lost in Translation