Now a major motion picture starring Amanda Seyfried and Finn Wittrock. Compared to seminal feminist works such as Charlotte Perkins Gilman’s “The Yellow Wallpaper” and Sylvia Plath’s The Bell Jar, A Mouthful of Air is a powerful, tragic statement on motherhood, family, and survival. A Mouthful of Air is a compassionate and wrenching portrait of Julie Davis, a young wife and mother torn between the love she feels for her family and the voice in her head that insists they’d be better off without her. We meet Julie several weeks after her suicide attempt, on the eve of her son’s first birthday. Grateful to be alive, Julie tries her best to appreciate every moment—“this tree, that passing car, the pretzel guy up ahead on the corner. She has, for whatever reason, been given a second chance”—but her emotional demons are unrelenting, and she is slowly and quietly losing the battle. Within the narrative of A Mouthful of Air is an argument about the nature of depression—its causes, cures, and the price it exacts from its victims. With spare, elegant prose, this brutally honest portrayal of family and self illuminates the power and complexity of the human psyche. Originally published in 2003, A Mouthful of Air now includes an afterword by author Adrienne Miller.

Bundel essays over linguïstiek en fonologie, voornamelijk van het Engels.

"Powerful. Koppelman's instincts help her navigate these choppy waters with inventiveness and integrity." —Los Angeles Times Now a major motion picture starring Sarah Silverman in her dramatic-acting debut, and Josh Charles, I Smile Back tells the affecting tale of Laney Brooks, a mother and wife on a self-destructive streak. She takes the drugs she wants, sleeps with the men she wants, disappears when she wants. Lurking beneath Laney's seemingly composed surface is the impulse to follow in her father's footsteps, to leave and topple her family's balance in the process. “This crushing novel by the author of A Mouthful of Air is a shocking portrait of suburban ennui gone horribly awry. Koppelman’s prose style is understated and crackling; each sentence is laden with a foreboding sense of menace. Like a crime scene or a flaming car wreck, it becomes impossible not to stare.” —Publishers Weekly

"Superb" -- Vogue "What makes Schweblin so startling as a writer, however, what makes her rare and important, is that she is impelled not by mere talent or ambition but by vision." -- New York Times A powerful, eerily unsettling story collection from a major international literary star. The brilliant stories in Mouthful of Birds burrow their way into your psyche and don't let go. Samanta Schweblin haunts and mesmerizes in this extraordinary collection featuring women on the edge, men turned upside down, the natural world at odds with reality. We think life is one way, but often, it's not -- our expectations for how people act, love, fear can all be upended. Each character in Mouthful of Birds must contend with the unexpected, whether a family coming apart at the seams or a child transforming or a ghostly hellscape or a murder. Schweblin's stories have the feel of a sleepless night, where every shadow and bump in the dark take on huge implications, leaving your pulse racing, and the line between the real and the strange blurs.

The new novel by the author of I Smile Back, now a film starring Sarah Silverman.

A sprawling, complex tale of magic and destiny that won't disappoint its readers. This auspicious beginning for author Peter Orullian will have you looking forward to more.--Terry Brooks.

An NPR Best Book of the Year From 2018 Whiting Award winner Tommy Pico, Junk is a book-length break-up poem that explores the experience of loss and erasure, both personal and cultural. The third book in Tommy Pico’s Teebs trilogy, Junk is a breakup poem in couplets: ice floe and hot lava, a tribute to Janet Jackson and nacho cheese. In the static that follows the loss of a job or an apartment or a boyfriend, what can you grab onto for orientation? The narrator wonders what happens to the sense of self when the illusion of security has been stripped away. And for an indigenous person, how do these lost markers of identity echo larger cultural losses and erasures in a changing political landscape? In part taking its cue from A.R. Ammons’s Garbage, Teebs names this liminal space “Junk,” in the sense that a junk shop is full of old things waiting for their next use; different items that collectively become indistinct. But can there be a comfort outside the anxiety of utility? An appreciation of “being” for the sake of being? And will there be Chili Cheese Fritos?