A love letter to Paris written in iPhone notes and in the troubling intimacy of public transport post-Charlie Hebdo attacks, Lauren Elkin's diary of a year on a Parisian bus pays homage to Georges Perec and Annie Ernaux. In this chronicle of the ordinary makings of a city and its people, the author's own body is a threatened vessel; that of the author as a woman as an author as a pregnant woman on the bus.
A love letter to Paris and a meditation on how it has changed in two decades, evolving from the twentieth century into the twenty-first, from analog to digital. Your telephone is precious. It may be envied. We recommend vigilance when using it in public. --Paris bus public notice In fall 2014 Lauren Elkin began keeping a diary of her bus commutes in the Notes app on her iPhone 5c, writing down the interesting things and people she saw in a Perecquian homage to Bus Lines 91 and 92, which she took from her apartment in the 5th Arrondissement to her teaching job in the 7th. Reading the notice, she decided to be vigilant when using her phone: she would carry out a public transport vigil, using it to take in the world around her and notice all the things she would miss if she continued using it the way she had been, the way everyone does--to surf the web, check social media, maintain her daily sense of self through digital interaction. Her goal became to observe the world through the screen of her phone, rather than using her phone to distract from the world. During the course of that academic year, the Charlie Hebdo attacks occurred and Elkin had an ectopic pregnancy, requiring emergency surgery. At that point, her diary of dailiness became a study of the counterpoint between the everyday and the Event, mediated through early twenty-first century technology, and observed from the height of a bus seat. No. 91/92 is a love letter to Paris, and a meditation on how it has changed in the two decades the author has lived there, evolving from the twentieth century into the twenty-first, from analog to digital.
FINALIST FOR THE PEN/DIAMONSTEIN-SPIELVOGEL AWARD FOR THE ART OF THE ESSAY A New York Times Notable Book of 2017 The flâneur is the quintessentially masculine figure of privilege and leisure who strides the capitals of the world with abandon. But it is the flâneuse who captures the imagination of the cultural critic Lauren Elkin. In her wonderfully gender-bending new book, the flâneuse is a “determined, resourceful individual keenly attuned to the creative potential of the city and the liberating possibilities of a good walk.” Virginia Woolf called it “street haunting”; Holly Golightly epitomized it in Breakfast at Tiffany’s; and Patti Smith did it in her own inimitable style in 1970s New York. Part cultural meander, part memoir, Flâneuse takes us on a distinctly cosmopolitan jaunt that begins in New York, where Elkin grew up, and transports us to Paris via Venice, Tokyo, and London, all cities in which she’s lived. We are shown the paths beaten by such flâneuses as the cross-dressing nineteenth-century novelist George Sand, the Parisian artist Sophie Calle, the wartime correspondent Martha Gellhorn, and the writer Jean Rhys. With tenacity and insight, Elkin creates a mosaic of what urban settings have meant to women, charting through literature, art, history, and film the sometimes exhilarating, sometimes fraught relationship that women have with the metropolis. Called “deliciously spiky and seditious” by The Guardian, Flâneuse will inspire you to light out for the great cities yourself.
Your telephone is precious. It may be envied. We recommend vigilance when using it in public. Paris bus public notice. In Autumn 2014, Lauren Elkin began keeping a diary of her bus commutes in the Notes app on her iPhone 5c, using it to take in the world around her. During that year, the Charlie Hebdo attacks occurred and Lauren had an ectopic pregnancy, requiring emergency surgery. At that point, her diary of dailiness became a study of how we digest major events personally and collectively as a city, observed from the height of the bus. No. 91/92 is a love letter to Paris and a meditation on how it has changed in the two decades the author has lived there. It's a celebration of community and a time when we could all observe each other in our fleshy up-closeness.
The international star Sara Stridsberg returns with The Antarctica of Love, an unnamed woman's tale of her murder, her brief life, and the world that moves on after she left it They say you die three times. The first time for me was when my heart stopped beating beneath his hands by the lake, and the second was when what was left of me was lowered into the ground in front of Ivan and Raksha at Bromma Church. The third time will be the last time my name is spoken on earth. She was a neglected child, an unreliable mother, a sex worker, a drug user—and then, like so many, a nameless victim of a violent crime. But first she was a human being, a full, complicated person, and she insists that we know her fully as she tells her story from beyond the grave. We witness her short life, the harrowing murder that ended it, and her grief over the loved ones she has left behind. We see her parents struggle with guilt and loss. We watch her children grow up in adopted families and patch together imperfect lives. We feel her dreams, fears, and passions. And still we will never know her name. A heartrending novel of life after death, Sara Stridsberg’s The Antarctica of Love is an unflinching testament of a woman on the margins, a tale of family lost and found, a report of a murder in the voice of the victim, and a story that brims with unexpected tenderness and hope.
"In this delightful autofiction―the first book by Gainza, an Argentine art critic, to appear in English―a woman delivers pithy assessments of world–class painters along with glimpses of her life, braiding the two into an illuminating whole." ―The New York Times Book Review, Notable Book of the Year and Editors' Choice The narrator of Optic Nerve is an Argentinian woman whose obsession is art. The story of her life is the story of the paintings, and painters, who matter to her. Her intimate, digressive voice guides us through a gallery of moments that have touched her. In these pages, El Greco visits the Sistine Chapel and is appalled by Michelangelo’s bodies. The mystery of Rothko’s refusal to finish murals for the Seagram Building in New York is blended with the story of a hospital in which a prostitute walks the halls while the narrator’s husband receives chemotherapy. Alfred de Dreux visits Géricault’s workshop; Gustave Courbet’s devilish seascapes incite viewers “to have sex, or to eat an apple”; Picasso organizes a cruel banquet in Rousseau’s honor . . . All of these fascinating episodes in art history interact with the narrator’s life in Buenos Aires―her family and work; her loves and losses; her infatuations and disappointments. The effect is of a character refracted by environment, composed by the canvases she studies. Seductive and capricious, Optic Nerve marks the English–language debut of a major Argentinian writer. It is a book that captures, like no other, the mysterious connections between a work of art and the person who perceives it.
WINNER OF THE 2022 NOBEL PRIZE IN LITERATURE Taking the form of random journal entries over seven years, Exteriors captures the feeling of contemporary living on the outskirts of Paris. Poignantly lyrical, chaotic, and strangely alive.
Driving is a fact of life. We are all spending more and more time on the road, and traffic is an issue we face everyday. This book will make you think about it in a whole new light. We have always had a passion for cars and driving. Now Traffic offers us an exceptionally rich understanding of that passion. Vanderbilt explains why traffic jams form, outlines the unintended consequences of our attempts to engineer safety and even identifies the most common mistakes drivers make in parking lots. Based on exhaustive research and interviews with driving experts and traffic officials around the globe, Traffic gets under the hood of the quotidian activity of driving to uncover the surprisingly complex web of physical, psychological and technical factors that explain how traffic works.
The classic work on the evaluation of city form. What does the city's form actually mean to the people who live there? What can the city planner do to make the city's image more vivid and memorable to the city dweller? To answer these questions, Mr. Lynch, supported by studies of Los Angeles, Boston, and Jersey City, formulates a new criterion—imageability—and shows its potential value as a guide for the building and rebuilding of cities. The wide scope of this study leads to an original and vital method for the evaluation of city form. The architect, the planner, and certainly the city dweller will all want to read this book.
This stunning collection of stories demonstrates once again why Alice Munro is celebrated as a pre-eminent master of the short story. While some of the stories are traditional, set in “Alice Munro Country” in Ontario or in B.C., dealing with ordinary women’s lives, others have a new, sharper edge. They involve child murders, strange sex, and a terrifying home invasion. By way of astonishing variety, the title story, set in Victorian Europe, follows the last journey from France to Sweden of a famous Russian mathematician. This daring, superb collection proves that Alice Munro will always surprise you.
