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THE INSTANT BESTSELLER • An indelible portrait of girls, the women they become, and that moment in life when everything can go horribly wrong NAMED ONE OF THE BEST BOOKS OF THE YEAR BY The Washington Post • NPR • The Guardian • Entertainment Weekly • San Francisco Chronicle • Financial Times • Esquire • Newsweek • Vogue • Glamour • People • The Huffington Post • Elle • Harper’s Bazaar • Time Out • BookPage • Publishers Weekly • Slate Northern California, during the violent end of the 1960s. At the start of summer, a lonely and thoughtful teenager, Evie Boyd, sees a group of girls in the park, and is immediately caught by their freedom, their careless dress, their dangerous aura of abandon. Soon, Evie is in thrall to Suzanne, a mesmerizing older girl, and is drawn into the circle of a soon-to-be infamous cult and the man who is its charismatic leader. Hidden in the hills, their sprawling ranch is eerie and run down, but to Evie, it is exotic, thrilling, charged—a place where she feels desperate to be accepted. As she spends more time away from her mother and the rhythms of her daily life, and as her obsession with Suzanne intensifies, Evie does not realize she is coming closer and closer to unthinkable violence. Finalist for the Los Angeles Times Book Prize • Finalist for the National Book Critics Circle John Leonard Award • Shortlisted for The Center for Fiction First Novel Prize • The New York Times Book Review Editors’ Choice • Emma Cline—One of Granta’s Best of Young American Novelists Praise for The Girls “Spellbinding . . . a seductive and arresting coming-of-age story.”—The New York Times Book Review “Extraordinary . . . Debut novels like this are rare, indeed.”—The Washington Post “Hypnotic.”—The Wall Street Journal “Gorgeous.”—Los Angeles Times “Savage.”—The Guardian “Astonishing.”—The Boston Globe “Superbly written.”—James Wood, The New Yorker “Intensely consuming.”—Richard Ford “A spectacular achievement.”—Lucy Atkins, The Times “Thrilling.”—Jennifer Egan “Compelling and startling.”—The Economist
A gripping and dark fictionalised account of life inside the Manson family from one of the most exciting young voices in fiction. If you’re lost, they’ll find you... Evie Boyd is fourteen and desperate to be noticed. It’s the summer of 1969 and restless, empty days stretch ahead of her. Until she sees them. The girls. Hair long and uncombed, jewelry catching the sun. And at their centre, Suzanne, black-haired and beautiful. If not for Suzanne, she might not have gone. But, intoxicated by her and the life she promises, Evie follows the girls back to the decaying ranch where they live. Was there a warning? A sign of what was coming? Or did Evie know already that there was no way back? ‘Taut, beautiful and savage, Cline’s novel demands your attention’ Guardian
** The Sunday Times Top Ten Bestseller ** ** The New York Times Top Ten Bestseller ** The UK's best selling hardback debut novel of 2016 Selected as a Book of the Year 2016 in the Evening Standard, Observer and The Times California. The summer of 1969. In the dying days of a floundering counter-culture a young girl is unwittingly caught up in unthinkable violence, and a decision made at this moment, on the cusp of adulthood, will shape her life.... 'This book will break your heart and blow your mind.' Lena Dunham Evie Boyd is desperate to be noticed. In the summer of 1969, empty days stretch out under the California sun. The smell of honeysuckle thickens the air and the sidewalks radiate heat. Until she sees them. The snatch of cold laughter. Hair, long and uncombed. Dirty dresses skimming the tops of thighs. Cheap rings like a second set of knuckles. The girls. And at the centre, Russell. Russell and the ranch, down a long dirt track and deep in the hills. Incense and clumsily strummed chords. Rumours of sex, frenzied gatherings, teen runaways. Was there a warning, a sign of things to come? Or is Evie already too enthralled by the girls to see that her life is about to be changed forever?
In Lori Lansens’ astonishing second novel, readers come to know and love two of the most remarkable characters in Canadian fiction. Rose and Ruby are twenty-nine-year-old conjoined twins. Born during a tornado to a shocked teenaged mother in the hospital at Leaford, Ontario, they are raised by the nurse who helped usher them into the world. Aunt Lovey and her husband, Uncle Stash, are middle-aged and with no children of their own. They relocate from the town to the drafty old farmhouse in the country that has been in Lovey’s family for generations. Joined to Ruby at the head, Rose’s face is pulled to one side, but she has full use of her limbs. Ruby has a beautiful face, but her body is tiny and she is unable to walk. She rests her legs on her sister’s hip, rather like a small child or a doll. In spite of their situation, the girls lead surprisingly separate lives. Rose is bookish and a baseball fan. Ruby is fond of trash TV and has a passion for local history. Rose has always wanted to be a writer, and as the novel opens, she begins to pen her autobiography. Here is how she begins: I have never looked into my sister’s eyes. I have never bathed alone. I have never stood in the grass at night and raised my arms to a beguiling moon. I’ve never used an airplane bathroom. Or worn a hat. Or been kissed like that. I’ve never driven a car. Or slept through the night. Never a private talk. Or solo walk. I’ve never climbed a tree. Or faded into a crowd. So many things I’ve never done, but oh, how I’ve been loved. And, if such things were to be, I’d live a thousand lives as me, to be loved so exponentially. Ruby, with her marvellous characteristic logic, points out that Rose’s autobiography will have to be Ruby’s as well — and how can she trust Rose to represent her story accurately? Soon, Ruby decides to chime in with chapters of her own. The novel begins with Rose, but eventually moves to Ruby’s point of view and then switches back and forth. Because the girls face in slightly different directions, neither can see what the other is writing, and they don’t tell each other either. The reader is treated to sometimes overlapping stories told in two wonderfully distinct styles. Rose is given to introspection and secrecy. Ruby’s style is "tell-all" — frank and decidedly sweet. We learn of their early years as the town "freaks" and of Lovey’s and Stash’s determination to give them as normal an upbringing as possible. But when we meet them, both Lovey and Stash are dead, the girls have moved back into town, and they’ve received some ominous news. They are on the verge of becoming the oldest surviving craniopagus (joined at the head) twins in history, but the question of whether they’ll live to celebrate their thirtieth birthday is suddenly impossible to answer. In Rose and Ruby, Lori Lansens has created two precious characters, each distinct and loveable in their very different ways, and has given them a world in Leaford that rings absolutely true. The girls are unforgettable. The Girls is nothing short of a tour de force.
A spiffy guide to anything and everything a girl could need to know! How to do almost anything in one handy little book! Want to be known for your unique style? Inside you'll learn how to design your own clothes (p. 35), do the perfect manicure (p. 82), or make your own lip gloss (p. 11). Feel like impressing your friends? Show them how you can make a crystal (p. 16), juggle one-handed (p. 33), or deal with a bully (p. 42). Bored and need something to do? Not anymore when you find out how to keep a secret diary (p. 88), make a scrapbook (p. 9), or put together a dance routine (p. 24). And tons of other neat-o things you need to know how to do!
A scholar and media critic takes a provocative look at the portrayal of women in American popular culture from the 1950s to the present day and assesses the impact of such images on women's real lives
The Girl’s Own Paper, founded in 1880, both shaped and reflected tensions between traditional domestic ideologies of the period and New Woman values in the context of the figure of the New Girl. These selections from the journal demonstrate the efforts of its publisher (the Religious Tract Society) to combat the negative moral influence of sensational popular literature while at the same time addressing the desires of its audience for exciting reading material and information about topics mothers could not or would not discuss. Selected fiction gives a rich sense of the conventions and the domestic ideology of the time; the nonfiction prose ranges from essays on conduct and household management to articles on new opportunities in education and work.
The instant New York Times bestseller, now in paperback: a moving tribute to female friendships, with the inspiring story of eleven girls and the ten women they became, from the coauthor of the million-copy bestseller The Last Lecture As children, they formed a special bond, growing up in the small town of Ames, Iowa. As young women, they moved to eighth different states, yet they managed to maintain an extraordinary friendship that would carry them through college and careers, marriage and motherhood, dating and divorce, the death of a child, and the mysterious death of the eleventh member of their group. Capturing their remarkable story, The Girls from Ames is a testament to the enduring, deep bonds of women as they experience life's challenges, and the power of friendship to overcome even the most daunting odds. The girls, now in their forties, have a lifetime of memories in common, some evocative of their generation and some that will resonate with any woman who has ever had a friend. The Girls from Ames demonstrates how close female relationships can shape every aspect of women's lives-their sense of themselves, their choice of men, their need for validation, their relationships with their mothers, their dreams for their daughters-and reveals how such friendships thrive, rewarding those who have committed to them. With both universal events and deeply personal moments, it's a book that every woman will relate to and be inspired by.
“An over-the-top romp through 1870s America . . . compulsively readable.” —Oprah.com Jean Zimmerman’s spectacular follow-up to The Orphanmaster has it all: Gilded Age romance, robber baron excess, detective story suspense, and a compelling female protagonist whom readers will fall in love with. In 1875, the Delegates, an outlandishly wealthy Manhattan couple on a tour of the American West, seek out a sideshow attraction called “Savage Girl.” Her handlers avow that the wild, seemingly mute Bronwyn has been raised by wolves. Presented with the perfect blank slate to explore the power of civilized nurture, the Delegates take her back east to be introduced into high society. Cleaned up, Bronwyn is blazingly smart and darkly beautiful; as she takes steps toward her grand debut, a series of suitors find her irresistible—and begin to turn up murdered.
The eleven contributors to The Girl's Own explore British and American Victorian representations of the adolescent girl by drawing on such contemporary sources as conduct books, housekeeping manuals, periodicals, biographies, photographs, paintings, and educational treatises. The institutions, practices, and literatures discussed reveal the ways in which the Girl expressed her independence, as well as the ways in which she was presented and controlled. As the contributors note, nineteenth-century visions of girlhood were extremely ambiguous. The adolescent girl was a fascinating and troubling figure to Victorian commentators, especially in debates surrounding female sexuality and behavior. The Girl's Own combines literary and cultural history in its discussion of both British and American texts and practices. Among the topics addressed are the nineteenth-century attempt to link morality and diet; the making of heroines in biographies for girls; Lewis Carroll's and John Millais's iconographies of girlhood in, respectively, their photographs and paintings; genre fiction for and by girls; and the effort to reincorporate teenage unwed mothers into the domestic life of Victorian America.
