Kirjahaku

A multi-generational story follows the experiences of a nineteenth-century Scottish gardener who flees the violence of his home to the Portuguese Azores, a woman who confronts troubling local historical issues in 1929 Australia, and a woman who despairs of saving the South American country her diplomat parents are despoiling. Reader's Guide available. Reprint. 15,000 first printing.

A gorgeous and deeply intimate memoir about families breaking apartWhen Jane Alison was a child, her family met another that seemed like its mirror: a father in the Foreign Service, a beautiful mother, and two little girls, the younger two (one of them Jane) sharing a birthday. The families became inseparable almost instantly. Within months, however, affairs ignited between the adults, and before long the parents exchanged partners, then divorced, remarried, and moved on. Two pairs of girls were left in shock, a "silent, numb shock, like a crack inside stone, not enough to split it but inside, silently fissuring" that would prove tragic.

Along the glittering coast of southern France, among a jungle of olive trees and aloes, a white villa rose from an earthen terrace. Eileen, a new architect previously known for her elegant chairs and furniture, built it as a haven for her and her lover; she realized each detail, designing the villa around their movements and habits. When the outspoken Le G, a founder of Modernist architecture, first laid eyes on the house, he could see his influence in the sleek lines. Affronted and impassioned, he took a paintbrush to the villa's clean, white walls . . . Now, Le G is in the final week of his life. He has spent the last thirty years infiltrating Eileen's house, erasing her presence and forgetting her name. But finally, the tide has come in, and Eileen is called back to her beloved coastline, where both artists will contend with the transformative power of memory. Inspired by the real-life collision of Irish designer Eileen Gray and famed Swiss architect Le Corbusier, and the extraordinary place that bound them, Jane Alison boldly reimagines a now-infamous feud into a lushly poetic and mesmerizing novel of power, predation, and obsession.

Along the glittering coast of southern France, among a jungle of olive trees and aloes, a white villa rose from an earthen terrace. Eileen, a new architect previously known for her elegant chairs and furniture, built it as a haven for her and her lover; she realized each detail, designing the villa around their movements and habits. When the outspoken Le G, a founder of Modernist architecture, first laid eyes on the house, he could see his influence in the sleek lines. Affronted and impassioned, he took a paintbrush to the villa's clean, white walls . . . Now, Le G is in the final week of his life. He has spent the last thirty years infiltrating Eileen's house, erasing her presence and forgetting her name. But finally, the tide has come in, and Eileen is called back to her beloved coastline, where both artists will contend with the transformative power of memory. Inspired by the real-life collision of Irish designer Eileen Gray and famed Swiss architect Le Corbusier, and the extraordinary place that bound them, Jane Alison boldly reimagines a now-infamous feud into a lushly poetic and mesmerizing novel of power, predation, and obsession.

Jean Cooke: Seascapes & Chalk Caves is the first publication about the artist in over ten years. It provides an original account of Jean Cooke and her connection with East Sussex, including a wide selection of paintings, pastels and watercolours made by the sea over a period stretching from 1963 to 2007\. The book includes the first comprehensive chronology of the artist and an essay by Jane Alison, former Head of Visual Arts at the Barbican, which considers Cooke's work in the context of eco-feminism. Rarely seen photographs of Cooke and the artist's own photographs of Sussex are also published here for the first time.

Self-taught and influential in the advocacy of photography as an art form, Mayne was passionate about representing human life as he found it – most famously, in his street images of low-income communities in West London. Capturing children at play and the emerging phenomenon of the ‘swaggering teenager’, Mayne discovered in the young a defining energy that perfectly embodied both the scars and the vitality of post-war Britain. The exhibition of more than sixty photographs brings together a selection of Mayne’s iconic London scenes with later, almost entirely unknown intimate portraits of his own family in rural Dorset. While these two strands have a different tenor, they share Mayne’s radical empathy and his evident desire to create images with lasting impact, sensitivity and artistic integrity. With those pictured from the 1950s now in their senior years and a new generation of young people faced with myriad crises, Mayne’s images of childhood, adolescence and family feel especially poignant and timely. The catalogue is richly illustrated and includes an original essay by Jane Alison and an interview with Mayne’s daughter, Katkin Tremayne.

One of Poets & Writers' Best Books for Writers " A] boundlessly inventive look at narrative form . . . filled with clarity and wit, underlain with formidable erudition." --Publishers Weekly (starred review) "How lovely to discover a book on the craft of writing that is also fun to read. . . Alison asserts that the best stories follow patterns in nature, and by defining these new styles she offers writers the freedom to explore but with enough guidance to thrive." --Maris Kreizman, Vulture As Jane Alison writes in the introduction to her insightful and appealing book about the craft of writing: "For centuries there's been one path through fiction we're most likely to travel-- one we're actually told to follow--and that's the dramatic arc: a situation arises, grows tense, reaches a peak, subsides . . . But something that swells and tautens until climax, then collapses? Bit masculosexual, no? So many other patterns run through nature, tracing other deep motions in life. Why not draw on them, too?" W. G. Sebald's Emigrants was the first novel to show Alison how forward momentum can be created by way of pattern, rather than the traditional arc-- or, in nature, wave. Other writers of nonlinear prose considered in her "museum of specimens" include Nicholson Baker, Anne Carson, Marguerite Duras, Gabriel Garc a M rquez, Jamaica Kincaid, Clarice Lispector, Susan Minot, David Mitchell, Caryl Phillips, and Mary Robison. Meander, Spiral, Explode is a singular and brilliant elucidation of literary strategies that also brings high spirits and wit to its original conclusions. It is a liberating manifesto that says, Let's leave the outdated modes behind and, in thinking of new modes, bring feeling back to experimentation. It will appeal to serious readers and writers alike.