Les saltimbanques ordinaires

The searing, must-read feminist essay from the author of A Girl is a Half-formed Thing<BR><BR>'Fearless ... A fierce and fascinating manifesto in McBride's persuasive prose' Sinéad Gleeson<BR><BR>'Formidable' Vogue<BR><BR>In this galvanizing essay, Eimear McBride unpicks the contradictory forces of disgust and objectification that control and shame women. From playground taunts of 'only sluts do it' but 'virgins are frigid', to ladette culture, and the arrival of 'ironic' porn, via Debbie Harry, the Kardashians and the Catholic church - she looks at how this prejudicial messaging has played out in the past, and still surrounds us today. <BR><BR>McBride asks - are women still damned if we do, damned if we don't? How can we give our daughters (and sons) the unbounded futures we want for them? And, in this moment of global crisis, might our gift for juggling contradiction help us to find a way forward?<BR><BR>'A satisfying feminist polemic' Susie Orbach<BR><BR>'Remarkable' Scotsman<BR><BR>'Eimear McBride is that old fashioned thing, a genius' Guardian

A NEW YORK PUBLIC LIBRARY BEST BOOK OF 2025 A MUST-READ NOVEL OF 2025 IN THE GUARDIAN, FINANCIAL TIMES, IRISH TIMES, SUNDAY TIMES, AND STYLIST<BR><BR>"One of the finest writers at work today." - ANNE ENRIGHT<BR><BR>"Eimear McBride does extraordinary things with language...she breaks every rule in the grammar book and gleefully gets away with it."- GUARDIAN<BR><BR>"McBride is a cartographer of the secret self, guiding us towards hidden treasure."- CLAIRE KILROY<BR><BR>An intense story of passion, jealousy and family from the trailblazing, award-winning Eimear McBride.<BR><BR>"So, all would be grand then, as far as the eye could see. Which it was, for a while. Up until the city, remembering its knives and forks, invited itself in to dine."<BR><BR>It's 1995. Outside their grimy window, the city rushes by. But in the flat there is only Stephen and Eily. Their bodies, the tangled sheets. Unpacked boxes stacked in the kitchen and the total obsession of new love. Eighteen months later, the flat feels different. Love is merging with reality. Stephen's teenage daughter has re-appeared, while Eily has made a choice, the consequences of which she cannot outrun. Now they face a reckoning for all that's been left unspoken - emotions, secrets and ambitions. Tonight, if they are to find one another again, what must be said aloud? Love rallies against life. Time tells truths. The city changes its face.

Paperback edition of the second novel from the Irish author of "A Girl Is A Half-Formed Thing", which won five literary awards, including the Baileys Women's Prize for Fiction. 'Eimear McBride is that old-fashioned thing, a genius, in that she writes truth-spilling, uncompromising and brilliant prose' Anne Enright<BR>

An intense story of passion, jealousy and family from the trailblazing, award-winning Eimear McBride.

Eimear McBride unpicks the contradictory forces of disgust and objectification that control and shame women. From playground taunts of 'only sluts do it' but 'virgins are frigid', to ladette culture, and the arrival of 'ironic' porn, via Debbie Harry, the Kardashians and the Catholic church - she looks at how this prejudicial messaging has played out in the past, and still surrounds us today. In this subversive essay, McBride asks - are women still damned if we do, damned if we don't? How can we give our daughters (and sons) the unbounded futures we want for them? And, in this moment of global crisis, might our gift for juggling contradiction help us to find a way forward?

Three dazzling texts from the award-winning Eimear McBride. Written during her time as the inaugural fellow in the Beckett archive last year, Eimear McBride's three pieces -- characteristically brilliant texts collected in one work, Mouthpieces. Each text depicts a fragment of female experience, all of them told in in Eimear's vivid, original and sharp-witted style. In 'The Adminicle Exists', we hear the inner voice of a woman who saves her troubled, dangerous partner; in 'An Act of Violence', a woman is quizzed about her reaction to a man's death; in 'The Eye Machine', the character 'Eye' tells of her imprisonment, flickering through a slideshow of female stereotypes.