The Schanbergs, a tight-knit Jewish clan, split off from the rest of the family and head for another life under a different name in the suburbs of New York City. Spanning 30 years, and moving from Manhattan to Harvard to a farm in upstate New York, this powerful tale of disguised lives and public masks shows us the consequences of denying ethnic and sexual identity to escape bigotry.
Jeanne Darst grew up in a family where their life was driven by a father who was a failed writer, and an alcoholic mother. As an adult she has pursued writing as well and examines the question of whether it is possibe to be a successful writer, sober, creative and ambititious while also having happy family life.
Family Fictions and World Making: Irish and Indian Women’s Writing in the Contemporary Era is the first book-length comparative study of family novels from Ireland and India. On the one hand, despite an early as well as late colonial experience, Ireland is often viewed exclusively within a metropolitan British and Europe-centered frame. India, on the other hand, once seen as a model of decolonization for the non-Western world, has witnessed a crisis of democracy in recent years. This book charts the idea of "world making" through the fraught itineraries of the Irish and the Indian family novel. The novels discussed in the book foreground kinship based on ideological rather than biological ties and recast the family as a nucleus of interests across national borders. The book considers the work of critically acclaimed women authors Anne Enright, Elizabeth Bowen, Mahasweta Devi, Jennifer Johnston, Kiran Desai and Molly Keane. These writers are explored as representative voices for the interwar years, the late-modern period, and the globalization era. They not only push back against the male nationalist idiom of the family but also successfully interrogate family fiction as a supposedly private genre. The broad timeframe of Family Fictions and World Making from the interwar period to the globalization era initiates a dialogue between the early and the current debates around core and periphery in postcolonial literature.
Family Fictions provides an introduction to the history of family stories in children's literature and an in-depth critical study of the works of Jacqueline Wilson, Anne Fine and Morris Gleitzman.
When the Nazi occupation of Rome begins, two courageous young women are plunged deep into the Italian Resistance to fight for their freedom in this captivating debut novel. Rome, 1943 Lucia Colombo has had her doubts about fascism for years, but as a single mother in an increasingly unstable country, politics are for other people--she needs to focus on keeping herself and her son alive. Then the Italian government falls and the German occupation begins, and suddenly, Lucia finds that complacency is no longer an option. Francesca Gallo has always been aware of injustice and suffering. A polio survivor who lost her father when he was arrested for his anti-fascist politics, she came to Rome with her fiancé to start a new life. But when the Germans invade and her fiancé is taken by the Nazis, Francesca decides she has only one option: to fight back. As Lucia and Francesca are pulled deeper into the struggle against the Nazi occupation, both women learn to resist alongside the partisans to drive the Germans from Rome. But as winter sets in, the occupation tightens its grip on the city, and the resistance is in constant danger. In the darkest days, Francesca and Lucia face their pasts, find the courage to love, and maintain hope for a future that is finally free.
Family Fictions explores images and narratives of the family in recent Hollywood cinema. This is the first in-depth analysis of this important topic which explores how problematic representations of the family were in a period when the family was a pivotal political and social issue. Through close textual analysis of the biggest box-office hits of recent years, this book demonstrates the volatility of family representations and the instability of its narrative and ideological functions. Well-known films discussed, include Kramer versus Kramer , E.T. and Look Who's Talking.
Rafael Goldchain's 'I Am My Family' is a family album of traditional portrait photographs with an unconventional twist - the only subject is Goldchain himself. In an elaborate process involving genealogical research, the use of make-up, hair styling, costume, and props, Goldchain transforms himself into his ancestors.
'Sophie Hannah, who can twist a conventional plot until it screams for mercy, puts an existential spin on the domestic-suspense novel' New York Times 'Fiendishly clever' Daily Mail 'Complex and sinister' Observer 'A literary high-wire artist' Sunday Express 'Prepare for sleep deprivation!' Red All Beth has to do is drive her son to his Under-14s away match, watch him play, and bring him home. Just because she knows that her former best friend lives near the football ground, that doesn't mean she has to drive past her house and try to catch a glimpse of her. Why would Beth do that, and risk dredging up painful memories? She hasn't seen Flora Braid for twelve years. But she can't resist. She parks outside Flora's house and watches from across the road as Flora and her children, Thomas and Emily, step out of the car. Except... There's something terribly wrong. Flora looks the same, only older - just as Beth would have expected. It's the children that are the problem. Twelve years ago, Thomas and Emily Braid were five and three years old. Today, they look precisely as they did then. They are still five and three. They are Thomas and Emily without a doubt - Beth hears Flora call them by their names - but they haven't changed at all. They are no taller, no older. Why haven't they grown?
