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From the best-selling author of My Brilliant Friend, a powerful new novel set in a divided Naples "Ferrante shows again how she is unbeatable."- The Times (UK) "Modern, urgent, truthful." - Lucy Hughes-Hallett, The Telegraph "Elena Ferrante is an expert chronicler of adolescence and its many indignities, as well as its erratic, overwhelming passions." - The Observer Giovanna’s pretty face has changed: it’s turning into the face of an ugly, spiteful adolescent. But is she seeing things as they really are? Into which mirror must she look to find herself and save herself? She is searching for a new face in two kindred cities that fear and detest one another: the Naples of the heights, which assumes a mask of refinement, and the Naples of the depths, which professes to be a place of excess and vulgarity. She moves between these two cities, disoriented by the fact that, whether high or low, the city seems to offer no answer and no escape. Elena Ferrante is unsurpassed in her ability to draw readers into her books from the very first page and she proves this again with The Lying Life of Adults, pulling us into what the Italian trade magazine Il libraio described as ‘not a mere story but an entire world.’ The millions of readers who found themselves addicted to My Brilliant Friend and the Neapolitan quartet will find that this new novel has the same addictive, do-not-disturb-I’m-reading qualities. TO BE PUBLISHED SIMULTANEOUSLY IN OVER 40 COUNTRIES: AN INTERNATIONAL BESTSELLER IN THE MAKING! THE ITALIAN EDITION OF THE LYING LIFE OF ADULTS (November 2019) HAS SOLD OVER 300,000 COPIES, REMAINING STEADY AT THE TOP END OF NATIONAL BESTSELLER LISTS BBC Radio 4 Book At Bedtime adaptation to be broadcast over 2 weeks at time of publication.
A powerful new novel set in a divided Naples by Elena Ferrante, the beloved best-selling author of My Brilliant Friend. Giovanna's pretty face has changed: it's turning into the face of an ugly, spiteful adolescent. But is she seeing things as they really are? Into which mirror must she look to find herself and save herself? She is searching for a new face in two kindred cities that fear and detest one another: the Naples of the heights, which assumes a mask of refinement, and the Naples of the depths, which professes to be a place of excess and vulgarity. She moves between these two cities, disoriented by the fact that, whether high or low, the city seems to offer no answer and no escape.
An unprecedented history of a personality test devised in the 1940s by a mother and daughter, both homemakers, that has achieved cult-like status and is used in today's most distinguished boardrooms, classrooms, and beyond. The Myers-Briggs Type Indicator is the most popular personality test in the world. It has been harnessed by Fortune 100 companies, universities, hospitals, churches, and the military. Its language--of extraversion vs. introversion, thinking vs. feeling--has inspired online dating platforms and BuzzFeed quizzes alike. And yet despite the test's widespread adoption, experts in the field of psychometric testing, a $500 million industry, struggle to account for its success--no less to validate its results. How did the Myers-Briggs test insinuate itself into our jobs, our relationships, our Internet, our lives? First conceived in the 1920s by the mother-daughter team of Katherine Briggs and Isabel Briggs Myers, a pair of aspiring novelists and devoted homemakers, the Myers-Briggs was designed to bring the gospel of Carl Jung to the masses. But it would take on a life of its own, reaching from the smoke-filled boardrooms of mid-century New York to Berkeley, California, where it was honed against some of the twentieth century's greatest creative minds. It would travel across the world to London, Zurich, Cape Town, Melbourne, and Tokyo; to elementary schools, nunneries, wellness retreats, and the closed-door corporate training sessions of today. Drawing from original reporting and never-before-published documents, The Personality Brokers examines nothing less than the definition of the self--our attempts to grasp, categorize, and quantify our personalities. Surprising and absorbing, the book, like the test at its heart, considers the timeless question: What makes you you?
Like few other works of contemporary literature, Elena Ferrante’s Neapolitan novels found an audience of passionate and engaged readers around the world. Inspired by Ferrante’s intense depiction of female friendship and women’s intellectual lives, four critics embarked upon a project that was both work and play: to create a series of epistolary readings of the Neapolitan Quartet that also develops new ways of reading and thinking together. In a series of intertwined, original, and daring readings of Ferrante’s work and her fictional world, Sarah Chihaya, Merve Emre, Katherine Hill, and Jill Richards strike a tone at once critical and personal, achieving a way of talking about literature that falls between the seminar and the book club. Their letters make visible the slow, fractured, and creative accretion of ideas that underwrites all literary criticism and also illuminate the authors’ lives outside the academy. The Ferrante Letters offers an improvisational, collaborative, and cumulative model for reading and writing with others, proposing a new method the authors call collective criticism. A book for fans of Ferrante and for literary scholars seeking fresh modes of intellectual exchange, The Ferrante Letters offers incisive criticism, insouciant riffs, and the pleasure of giving oneself over to an extended conversation about fiction with friends.
A “beautifully written” dark fable from a doll’s point of view—by the New York Times–bestselling author of The Lost Daughter and the Neapolitan Novels (The Washington Post). One of NPR’s Best Books of the Year. Readers of Elena Ferrante’s The Lost Daughter may recall the little doll—lost or stolen—around which that novel revolves. Here, Ferrante retells the tale from the doll’s perspective. Celina is having a terrible night, one full of jealousy for the new kitten, Minù; feelings of abandonment and sadness; misadventures at the hands of the beach attendant; and dark dreams. But she will be happily found by Mati, her child, once the sun rises . . . “Everyone should read anything with Ferrante’s name on it.” —The Boston Globe
One of The Guardian’s Best Books of the Year: Personal writings by the anonymous author who became a literary phenomenon with My Brilliant Friend. The writer known as Elena Ferrante has taken pains to hide her identity in the hope that readers would focus on her body of work. But in this volume, she invites us into Elena Ferrante’s workshop and offers a glimpse into the drawers of her writing desk—those drawers from which emerged her three early standalone novels and the four installments of the Neapolitan Novels, the New York Times–bestselling “enduring masterpiece” (The Atlantic). Consisting of over twenty years of letters, essays, reflections, and interviews, it is a unique depiction of an author who embodies a consummate passion for writing. In these pages, Ferrante answers many of her readers’ questions. She addresses her choice to stand aside and let her books live autonomous lives. She discusses her thoughts and concerns as her novels are being adapted into films. She talks about the challenge of finding concise answers to interview questions. She explains the joys and the struggles of writing, the anguish of composing a story only to discover that that story isn’t good enough. She contemplates her relationship with psychoanalysis, with the cities she has lived in, with motherhood, with feminism, and with her childhood as a storehouse for memories, impressions, and fantasies. The result is a vibrant and intimate self-portrait of a writer at work. “Everyone should read anything with Ferrante’s name on it.” —The Boston Globe
One of The New York Times Book Review's "10 Best Books of 2015" An NYRB Classics Original The Door is an unsettling exploration of the relationship between two very different women. Magda is a writer, educated, married to an academic, public-spirited, with an on-again-off-again relationship to Hungary’s Communist authorities. Emerence is a peasant, illiterate, impassive, abrupt, seemingly ageless. She lives alone in a house that no one else may enter, not even her closest relatives. She is Magda’s housekeeper and she has taken control over Magda’s household, becoming indispensable to her. And Emerence, in her way, has come to depend on Magda. They share a kind of love—at least until Magda’s long-sought success as a writer leads to a devastating revelation. Len Rix’s prizewinning translation of The Door at last makes it possible for American readers to appreciate the masterwork of a major modern European writer.
'The small translucent bottle of shampoo outlived him. It was the kind you take home from hotels in distant places. For over a year it had sat on the shower shelf where he had left it. I looked at it every day.' After the death of her partner of thirty-two years, Lisa Appignanesi was thrust into a state striated by rage and superstition in which sanity felt elusive. The dead of prior generations loomed large and haunting. Then, too, the cultural and political moment seemed to collude with her condition: everywhere people were dislocated and angry. In this electrifying and brave examination of an ordinary enough death and its aftermath, Appignanesi uses all her evocative and analytic powers to scrutinize her own and our society's experience of grieving, the effects of loss and the potent, mythical space it occupies in our lives. With searing honesty, lashed by humour, she navigates us onto the terrain of childhood, the way it forms our feelings of love and hate, and steers us towards a less tumultuous version of the everyday. This book may be short, but life, death, madness, love, and grandchildren, are all there - seen through the eyes of a writer who is ever aware of the historical and current vagaries of woman's condition.
“This is my last column, after a year that has scared and inspired me.” With these words, Elena Ferrante, the bestselling author of My Brilliant Friend, bid farewell to her year-long collaboration with the Guardian. For a full year she penned short pieces, the subjects of which were suggested by editors at the Guardian, turning the writing process into a kind of prolonged interlocution; the subjects ranged from first love to climate change, from enmity among women to the adaptation of her novels to film and TV. As she said in her final column: “I have written as an author of novels, taking on matters that are important to me and that—if I have the will and the time—I’d like to develop within real narrative mechanisms.” Here, then, are the seeds of possible future novels, the ruminations of an internationally beloved author, and the abiding preoccupations of a writer who has been called “one of the great novelists of our time” (The New York Times). Gathered together for the first time in a beautiful gift edition and accompanied by an entirely new introduction written by Elena Ferrante and by Andrea Ucini’s intelligent, witty, and beautiful illustrations, this is a must for all Ferrante fans.