The Years is a personal narrative of the period of 1941 to 2006 told through the lens of memory, impressions past and present - even projections into the future - photos, books, songs, radio, television, and decades of advertising and headlines, contrasted with intimate conflicts and written notes from six decades of diaries. Local dialect, words of the time, slogans, brands, and names for ever-proliferating objects are given a voice here. The voice we recognize as the author's continually dissolves and re-emerges.

For half a century, the French writer Annie Ernaux has transgressed the boundaries of what stories are considered worth telling, what subjects worth exploring. In this probing meditation, Ernaux turns her attention to the phenomenon of the big-box superstore, a ubiquitous feature of modern life that has received scant attention in literature. Recording her visits to a store near Paris for over a year, she captures the world that exists within its massive walls.

Self-regard, in the works of Annie Ernaux, is always an excruciatingly painful and exact process. Here, she revisits the peculiar kind of self-fulfillment possible when we examine ourselves in the aftermath of a love affair, and sometimes, even, through the eyes of the lost beloved.

In her spare, stark style, Annie Ernaux documents the desires and indignities of a human heart ensnared in an all-consuming passion. Blurring the line between fact and fiction, an unnamed narrator attempts to plot the emotional and physical course of her two-year relationship with a married foreigner where every word, event, and person either provides a connection with her beloved or is subject to her cold indifference. With courage and exactitude, she seeks the truth behind an existence lived entirely for someone else, and, in the pieces of its aftermath, she is able to find it.

This extraordinary evocation of a grown daughter’s attachment to her mother - and of both women’s strength and resiliency - recounts Annie’s attempt to first help her mother recover from Alzheimer’s disease and, then, when that proves futile, bear witness to the older woman’s gradual decline and her own experience as a daughter losing a beloved parent. I Remain in Darkness is a new high-water mark for Ernaux, surging with raw emotional power and her sublime ability to use language to apprehend her own life’s particular music.

In 1963, Annie Ernaux, 23 and unattached, realizes she is pregnant. Shame arises in her like a plague: Understanding that her pregnancy will mark her and her family as social failures, she knows she cannot keep the child. In a France where abortion was illegal, she attempted, in vain, to self-administer the abortion with a knitting needle. Fearful and desperate, she finally located an abortionist and ended up in a hospital emergency ward where she nearly died. In Happening, Ernaux sifts through her memories and her journal entries dating from those days.

Upon her mother’s death from Alzheimer’s, Annie Ernaux embarks on a daunting journey back through time, as she seeks to “capture the real woman, the one who existed independently from me, born on the outskirts of a small Normandy town, and who died in the geriatric ward of a hospital in the suburbs of Paris.” She explores the bond between mother and daughter, tenuous and unshakable at once, the alienating worlds that separate them, and the inescapable truth that we must lose the ones we love.

This narrative charts Annie Ernaux's teenage awakening and then the parallel progression of her desire to be desirable and her ambition to fulfill herself in her chosen profession - with the inevitable conflict between the two. And then she is 30 years old, a teacher married to an executive, a mother of two infant sons.

My father tried to kill my mother one Sunday in June, in the early afternoon, begins Shame, the probing story of the 12-year-old girl who will become the author herself and the single traumatic memory that will echo and resonate throughout her life. With the emotionally rich voice of great fiction and the diamond-sharp analytical eye of a scientist, Annie Ernaux provides a powerful reflection on experience and the power of violent memory to endure through time, to determine the course of a life.

In A Girl's Story, Annie Ernaux revisits a night 50 years earlier when she found herself submerged and controlled by another person's desire and willpower. It was the summer of 1958, the year she turned 18, and the man she had given herself to had moved on. She'd submitted her will to his and then found that she was a slave without a master.

A young woman is in love with a successful surgeon, a man torn between his love for her and his incorrigible womanizing. His mistress, a free-spirited artist, lives her life as a series of betrayals—while her other lover, earnest, faithful, and good, stands to lose everything because of his noble qualities. In a world where lives are shaped by irrevocable choices and fortuitous events, and everything occurs but once, existence seems to lose its substance, its weight. Hence we feel “the unbearable lightness of being."

For the last 20 years, George Saunders has been teaching a class on the Russian short story to his MFA students at Syracuse University. In A Swim in a Pond in the Rain, he shares a version of that class with us, offering some of what he and his students have discovered together over the years. Paired with iconic short stories by Chekhov, Turgenev, Tolstoy, and Gogol, the seven essays in this book are intended for anyone interested in how fiction works and why it’s more relevant than ever in these turbulent times.

It is a hot summer in rural Ireland. A child is taken by her father to live with relatives on a farm, not knowing when or if she will be brought home again. In the Kinsellas' house, she finds an affection and warmth she has not known and slowly, in their care, begins to blossom. But there is something unspoken in this new household—where everything is so well tended to—and this summer must soon come to an end.

It is 1985 in a small Irish town. During the weeks leading up to Christmas, Bill Furlong, a coal merchant and family man, faces into his busiest season. Early one morning, while delivering an order to the local convent, Bill makes a discovery that forces him to confront both his past and the complicit silences of a town controlled by the church.

A small child when he comes to England on a Kindertransport in the summer of 1939, Jacques Austerlitz is told nothing of his real family by the Welsh Methodist minister and his wife who raise him. When he is a much older man, fleeting memories return to him, and obeying an instinct he only dimly understands, Austerlitz follows their trail back to the world he left behind a half century before. There, faced with the void at the heart of twentieth-century Europe, he struggles to rescue his heritage from oblivion.

In 1963, Annie Ernaux, 23 and unattached, realizes she is pregnant. Shame arises in her like a plague: Understanding that her pregnancy will mark her and her family as social failures, she knows she cannot keep the child. In a France where abortion was illegal, she attempted, in vain, to self-administer the abortion with a knitting needle. Fearful and desperate, she finally located an abortionist and ended up in a hospital emergency ward where she nearly died. In Happening, Ernaux sifts through her memories and her journal entries dating from those days.

A memoir of self-discovery and the dilemma of connection in our time, The Odd Woman and the City explores the rhythms, chance encounters, and ever-changing friendships of urban life that forge the sensibility of a fiercely independent woman who has lived out her conflicts, not her fantasies, in a city (New York) that has done the same.

Upon her mother’s death from Alzheimer’s, Annie Ernaux embarks on a daunting journey back through time, as she seeks to “capture the real woman, the one who existed independently from me, born on the outskirts of a small Normandy town, and who died in the geriatric ward of a hospital in the suburbs of Paris.” She explores the bond between mother and daughter, tenuous and unshakable at once, the alienating worlds that separate them, and the inescapable truth that we must lose the ones we love.

A young woman is in love with a successful surgeon, a man torn between his love for her and his incorrigible womanizing. His mistress, a free-spirited artist, lives her life as a series of betrayals—while her other lover, earnest, faithful, and good, stands to lose everything because of his noble qualities. In a world where lives are shaped by irrevocable choices and fortuitous events, and everything occurs but once, existence seems to lose its substance, its weight. Hence we feel “the unbearable lightness of being."

From fat girl to thin, from red hair to mud brown, from London to Toronto, from Polish count to radical husband - Joan Foster is utterly confused by her life of multiple identities. She decides to escape to an Italian hill town to take stock of her life. But first, she must organize her own death.

Milan Kundera's sixth novel springs from a casual gesture of a woman to her swimming instructor, a gesture that creates a character in the mind of a writer named Kundera. Like Flaubert's Emma or Tolstoy's Anna, Kundera's Agnes becomes an object of fascination, of indefinable longing. From that character springs a novel, a gesture of the imagination that both embodies and articulates Milan Kundera's supreme mastery of the novel and its purpose: to explore thoroughly the great themes of existence.

Meet Patience Portefeux, 53, an underpaid Franco-Arab judicial interpreter for the Ministry of Justice who specialises in telephone tapping. Widowed after the sudden death of her husband, Patience is now wedged between university fees for her two grown-up daughters and nursing home costs for her ageing mother. She’s laboured for 25 years to keep everyone’s heads above water.

"I am Myra Breckinridge, whom no man will ever possess." So begins the irresistible testimony of the luscious instructor of Empathy and Posture at Buck Loner's Academy of Drama and Modeling. Myra has a secret that only her surgeon shares; a passion for classic Hollywood films, which she regards as the supreme achievements of Western culture; and a sacred mission to bring heteronormative civilization to its knees. Fifty years after its first publication unleashed gales of laughter, delight, and ferocious dissent, Myra's moment to instruct and delight has once again arrived.

Sartre's greatest novel and existentialism's key text, now introduced by James Wood, and read by the inimitable Edoardo Ballerini. Nausea is the story of Antoine Roquentin, a French writer who is horrified at his own existence. In impressionistic, diary form, he ruthlessly catalogs his every feeling and sensation.

Mizuki is a Japanese housewife. She has a hardworking husband, two adorable children, and a beautiful Tokyo apartment. It’s everything a woman could want, yet sometimes she wonders whether she would rather throw herself off the high-rise balcony than spend another evening not talking to her husband and hanging up laundry.

After backpacking her way around Europe journalist Sarah Turnbull is ready to embark on one last adventure before heading home to Sydney. A chance meeting with a charming Frenchman in Bucharest changes her travel plans forever. Acting on impulse, she agrees to visit Fredric in Paris for a week. Put a very French Frenchman together with a strong-willed Australian girl and the result is some spectacular - and often hilarious - cultural clashes.

This remarkable memoir is the classic account of the transgender journey. It is all the more extraordinary because it is the life story of a figure who, it seemed, seamlessly and publicly charted a course through the English establishment - James Morris, outstanding journalist, historian and travel writer, famed for a peerless writing style. But all the while he was concealing a very different inner world: from the age of four he felt that, despite his body, he was really a girl.

Paris. The name alone conjures images of chestnut-lined boulevards, sidewalk cafés, breathtaking façades around every corner: in short, an exquisite romanticism that has captured the American imagination for as long as there have been Americans.

Set on the French Riviera in the late 1920s, Tender Is the Night is the tragic romance of the young actress Rosemary Hoyt and the stylish American couple Dick and Nicole Diver. A brilliant young psychiatrist at the time of his marriage, Dick is both husband and doctor to Nicole, whose wealth goads him into a lifestyle not his own, and whose growing strength highlights Dick's harrowing demise. A profound study of the romantic concept of character - lyrical, expansive, and hauntingly evocative.

Kemal, scion of one of the city's wealthiest families, is about to become engaged to Sibel, daughter of another prominent family, when he encounters Füsun, a beautiful shopgirl and a distant relation. Once the long-lost cousins violate the code of virginity, a rift begins to open between Kemal and the world of the Westernized Istanbul bourgeosie - a world, as he lovingly describes it, with opulent parties and clubs, society gossip, picnics, and mansions on the Bosphorus, infused with the melancholy of decay.

The Years is a personal narrative of the period of 1941 to 2006 told through the lens of memory, impressions past and present - even projections into the future - photos, books, songs, radio, television, and decades of advertising and headlines, contrasted with intimate conflicts and written notes from six decades of diaries. Local dialect, words of the time, slogans, brands, and names for ever-proliferating objects are given a voice here. The voice we recognize as the author's continually dissolves and re-emerges.

In her spare, stark style, Annie Ernaux documents the desires and indignities of a human heart ensnared in an all-consuming passion. Blurring the line between fact and fiction, an unnamed narrator attempts to plot the emotional and physical course of her two-year relationship with a married foreigner where every word, event, and person either provides a connection with her beloved or is subject to her cold indifference. With courage and exactitude, she seeks the truth behind an existence lived entirely for someone else, and, in the pieces of its aftermath, she is able to find it.

In A Girl's Story, Annie Ernaux revisits a night 50 years earlier when she found herself submerged and controlled by another person's desire and willpower. It was the summer of 1958, the year she turned 18, and the man she had given herself to had moved on. She'd submitted her will to his and then found that she was a slave without a master.

Self-regard, in the works of Annie Ernaux, is always an excruciatingly painful and exact process. Here, she revisits the peculiar kind of self-fulfillment possible when we examine ourselves in the aftermath of a love affair, and sometimes, even, through the eyes of the lost beloved.

This narrative charts Annie Ernaux's teenage awakening and then the parallel progression of her desire to be desirable and her ambition to fulfill herself in her chosen profession - with the inevitable conflict between the two. And then she is 30 years old, a teacher married to an executive, a mother of two infant sons.