Susanna Moore schrijft romans die zich verdiepen in de complexiteit van de menselijke psychologie en relaties. Haar kenmerkende stijl wordt gekenmerkt door indringende introspectie en precieze taal, die de lezer onderdompelt in de emotionele en intellectuele wereld van haar personages. Moore verkent regelmatig thema's als identiteit, verlangen en de zoektocht naar betekenis in het hedendaagse leven. Haar werk biedt boeiende en vaak verontrustende verkenningen van de menselijke conditie.
The book offers an in-depth exploration of John Stefanidis's design philosophy and career, highlighting his unique aesthetic characterized by vibrant colors, eclectic styles, and a focus on comfort and proportion. It showcases bespoke elements crafted by skilled artisans, such as custom furniture and intricate mosaics. Lavishly illustrated with both published and rare photographs, it chronicles his journey from the late 1960s to his latest projects, providing personal insights into his creative process and relationships within the design community.
A memoir from the author of IN THE CUT 'A captivating portrait of a woman in
search of herself' Kirkus 'Moore's search for stability during a free-spirited
decade is a whirlwind of celebrity encounters and a lyrical exploration of the
lingering effects of a mother's death' Publishers Weekly
The memoir intertwines childhood memories with reflections on literature, exploring the author's deep connection to the ocean and her formative experiences on an island. Through vivid reminiscences, she navigates her personal growth and the influence of literary works on her life, capturing the essence of her journey back to her roots.
Drawn partly from a true story, The Lost Wife is a searing and immersive novel
about a devastating Native American revolt, and a woman caught in the middle
of the conflict
Set in Berlin during 1938, the story follows Beatrice, a young Irish Protestant lace maker, who escapes her mundane life to join the glamorous household of art collectors Felix and Dorthea Metzenburg. Surrounded by influential figures of Europe, Beatrice finds herself in a captivating world filled with allure and desire, far beyond her previous experiences. The narrative explores themes of aspiration and the stark contrast between her past and the enchanting new life she encounters.
"Minnesota, 1862: As a woman fleeing from a dark and secret past, Sarah Wakefield leaves Rhode Island quietly and quickly under cover of night for the long journey to Minnesota where she has been advised there is good work to be had. She soon finds a husband who becomes a resident physician for a Sioux town there but the political backdrop of that moment is volatile: white settlers are breaking treaties, Native American land is shrinking, and mass starvation and disease looms over the Sioux community. As the earliest settlers in this area, Sarah anticipates unease and tension, but instead she finds acceptance and kinship. Through the caring Sioux women, Sarah learns to cook, make clothes, speak the Sioux language, and ultimately finds companionship with the women which far exceeds that with her strange and distant husband. But the Sioux aren't receiving what they were promised from the White settlers, and a succession of devastating treaty breaks result in widespread famine, territory loss and conflict. What follows is one of the most influential Native uprisings of all time, the U.S.-Dakota War of 1862. As the war erupts around her, Sarah is separated from her husband, and rescued by the Sioux who are seeking safety from the fighting, and ultimately a home that was stolen from them. She will heroically but unsuccessfully try to protect them during the Dakota Trial that ensues. Intimate, raw, compelling and brilliantly subversive, Susanna Moore explores a complicated history of female captivity and Native American suffering"-- Provided by publisher
The history of Hawaii may be said to be the story of arrivals -- from the eruption of volcanoes on the ocean floor 18,000 feet below to the first hardy seeds that over millennia found their way to the islands, and the confused birds blown from their migratory routes. Early Polynesian adventurers sailed across the Pacific in double canoes. Spanish galleons en route to the Philippines and British navigators in search of a Northwest Passage were soon followed by pious Protestant missionaries, shipwrecked sailors, and rowdy Irish poachers escaped from Botany Bay -- all wanderers washed ashore. This is true of many cultures, but in Hawaii, no one seems to have left. And in Hawaii, a set of myths accompanied each of these migrants -- legends that shape our understanding of this mysterious place. Susanna Moore pieces together the story of late-eighteenth-century Hawaii -- its kings and queens, gods and goddesses, missionaries, migrants, and explorers -- a not-so-distant time of abrupt transition, in which an isolated pagan world of human sacrifice and strict taboo, without a currency or a written language, was confronted with the equally ritualized world of capitalism, Western education, and Christian values.
Ci sono i carnefici e ci sono le vittime, i carcerieri e le carcerate. C’è la cella d’isolamento con i suoi tentati suicidi, le regole ferree della convivenza tra le detenute e la stretta sorveglianza delle guardie; tanto stretta da arrivare spesso fino al sopruso e alla violenza. E poi, naturalmente, c’è il fuori, la città con le sue strade, i suoi pub e i suoi appartamenti, le persone libere, la vita che dovrebbe essere normale. Louise Forrest appartiene a questa vita, alla città: ma per il suo lavoro di psichiatra appartiene anche un po’ al carcere in cui lavora da qualche mese. L’incontro con Helen, la più fragile delle detenute, con un passato misterioso e terrificante fatto di indicibili violenze prima subite e poi perpetrate, che emergono lentamente dalla memoria, cambia la vita della psichiatra e tutto improvvisamente precipita. Non c’è più nulla del passato che si possa tacere: nessuna crudeltà, nessuna sofferenza, nessuna orribile bugia. Un romanzo dove non c’è redenzione possibile né dal dolore né dalla violenza o dalla colpa: nonostante gli sforzi per incontrarsi e per capirsi, nonostante la fiducia e il desiderio di non lasciarsi sole, le donne si muovono in un mondo da cui pare bandita l’innocenza, in cui tutti sono vittime e tutti sono carnefici, di se stessi e degli altri. Un’immensa, sconfinata prigione.
