New Release Books by Deborah Levy

'Three bicycles. Seven ghosts. A crumbling apartment block on the hill. Fame. Tenderness. The statue of Peter Pan. Silk. Melancholy. The banana tree. A Pandemic. A love story.' From one of the great thinkers and writers of our time, comes the highly anticipated final instalment in Deborah Levy's critically acclaimed 'Living Autobiography' 'I can't think of any writer aside from Virginia Woolf who writes better about what it is to be a woman' Observer on The Cost of Living Following the international critical acclaim of The Cost of Living, this final volume of Deborah Levy's 'Living Autobiography' is an exhilarating, thought-provoking and boldly intimate meditation on home and the spectres that haunt it. 'I began to wonder what myself and all unwritten and unseen women would possess in their property portfolios at the end of their lives. Literally, her physical property and possessions, and then everything else she valued, though it might not be valued by society. What might she claim, own, discard and bequeath? Or is she the real estate, owned by patriarchy? In this sense, Real Estate is a tricky business. We rent it and buy it, sell and inherit it - but we must also knock it down.' 'Wise, subtle and ironic, Levy's every sentence is a masterpiece of clarity and poise... A brilliant writer' Daily Telegraph on The Cost of Living 'Extraordinary and beautiful, suffused with wit and razor-sharp insights' Financial Times on The Cost of Living

Longlisted for the Booker Prize Named a Best Book of the Year By: The New York Times Book Review (Notable Books of the Year) * The New York Public Library * The Washington Post * Time.com * The New York Times Critics' (Parul Seghal's Top Books of the Year) * St. Louis Post Dispatch * Apple * Publisher's Weekly An electrifying novel about beauty, envy, and carelessness from Deborah Levy, author of the Booker Prize finalists Hot Milk and Swimming Home. It is 1988 and Saul Adler, a narcissistic young historian, has been invited to Communist East Berlin to do research; in exchange, he must publish a favorable essay about the German Democratic Republic. As a gift for his translator's sister, a Beatles fanatic who will be his host, Saul's girlfriend will shoot a photograph of him standing in the crosswalk on Abbey Road, an homage to the famous album cover. As he waits for her to arrive, he is grazed by an oncoming car, which changes the trajectory of his life. The Man Who Saw Everything is about the difficulty of seeing ourselves and others clearly. It greets the specters that come back to haunt old and new love, previous and current incarnations of Europe, conscious and unconscious transgressions, and real and imagined betrayals, while investigating the cyclic nature of history and its reinvention by people in power. Here, Levy traverses the vast reaches of the human imagination while artfully blurring sexual and political binaries-feminine and masculine, East and West, past and present--to reveal the full spectrum of our world.

The bestselling exploration of the dimensions of love, marriage, mourning, and kinship from two-time Booker Prize finalist Deborah Levy. A New York Times Notable Book A New York Public Library Best Nonfiction Book of 2018 What does it cost a woman to unsettle old boundaries and collapse the social hierarchies that make her a minor character in a world not arranged to her advantage? This vibrant memoir, a portrait of contemporary womanhood in flux, is an urgent quest to find an unwritten major female character who can exist more easily in the world. Levy considers what it means to live with meaning, value, and pleasure, to seize the ultimate freedom of writing our own lives, and reflects on the work of such artists and thinkers as Simone de Beauvoir, James Baldwin, Elena Ferrante, Marguerite Duras, David Lynch, and Emily Dickinson. The Cost of Living, longlisted for the Andrew Carnegie Medal in Nonfiction, is crucial testimony, as distinctive, witty, complex, and original as Levy's acclaimed novels.

Now in paperback, a "tantalizingly poetic" (NYTBR) collection in which Levy "conquer[s] the genre which demands she fashion perfect jewels" (The Independent). The stories in Black Vodka, by acclaimed author Deborah Levy, are perfectly formed worlds unto themselves, written in elegant yet economical prose. She is a master of the short story, exploring loneliness and belonging; violence and tenderness; the ephemeral and the solid; the grotesque and the beautiful; love and infidelity; and fluid identities national, cultural, and personal. In "Shining a Light," a woman's lost luggage is juxtaposed with far more serious losses. An icy woman seduces a broken man in "Vienna," and a man's empathy threatens to destroy him in "Stardust Nation." "Cave Girl" features a girl who wants to be a different kind of woman--she succeeds in a shocking way. A deformed man seeks beauty amid his angst in the title story. These are twenty-first century lives dissected with razor-sharp humor and curiosity. Levy's stories will send you tumbling into a rabbit hole, and you won't be able to scramble out until long after you've turned the last page.

Beautiful Mutants, Deborah Levy's feverish allegory of a first novel, introduces a manipulative and magical Russian exile who summons forth a series of grotesques--among them the Poet, the Banker, and the Anorexic Anarchist. Levy explores the anxieties that pervaded the 1980s: exile and emigration, broken dreams, crazed greed and the first seeds of the global financial crisis, self-destructive desires, and the disintegration of culture. In Swallowing Geography, J. K., like her namesake Jack Kerouac, is always on the road, traveling Europe with her typewriter in a pillowcase. She wanders, meeting friends and strangers, battling her raging mother, and taking in the world through her uniquely irreverent, ironic perspective. Levy blends fairytale with biting satire, pushing at the edges of reality and marveling at where the world collapses in on itself. In The Unloved, a group of hedonistic tourists--from Algeria, England, Poland, Germany, Italy, France, and America--gathers to celebrate the holidays in a remote French château. Then a woman is brutally murdered, and the sad, eerie child Tatiana declares she knows who did it. The subsequent inquiry into the death, however, proves to be more of an investigation into the nature of identity, love, insatiable rage, and sadistic desire.

Like her namesake Jack Kerouac, J.K. is always on the road, travelling Europe with her typewriter in a pillowcase. From J.K.'s irreverent, ironic perspective, Levy charts a new, dizzying, end-of-the-century world of shifting boundaries and displaced peoples.

This is a workbook to be used by students in Kindergarten through 4th grade to teach them prefixes.

A New York Times Notable Book of the Year. Shortlisted for the 2016 Man Booker Prize, Hot Milk moves "gracefully among pathos, danger, and humor†? (The New York Times). I have been sleuthing my mother's symptoms for as long as I can remember. If I see myself as an unwilling detective with a desire for justice, is her illness an unsolved crime? If so, who is the villain and who is the victim? Sofia, a young anthropologist, has spent much of her life trying to solve the mystery of her mother's unexplainable illness. She is frustrated with Rose and her constant complaints, but utterly relieved to be called to abandon her own disappointing fledgling adult life. She and her mother travel to the searing, arid coast of southern Spain to see a famous consultant--their very last chance--in the hope that he might cure her unpredictable limb paralysis. But Dr. Gomez has strange methods that seem to have little to do with physical medicine, and as the treatment progresses, Sofia's mother's illness becomes increasingly baffling. Sofia's role as detective--tracking her mother's symptoms in an attempt to find the secret motivation for her pain--deepens as she discovers her own desires in this transient desert community. Hot Milk is a profound exploration of the sting of sexuality, of unspoken female rage, of myth and modernity, the lure of hypochondria and big pharma, and, above all, the value of experimenting with life; of being curious, bewildered, and vitally alive to the world.

A luminescent treatise on writing, love, and loss, a witty response to George Orwell's influential essay "Why I Write" Things I Don't Want to Know is the first in Deborah Levy's essential three-part "living autobiography" on writing and womanhood. Taking George Orwell's famous essay, "Why I Write", as a jumping-off point, Deborah Levy offers her own indispensable reflections of the writing life. With wit, clarity and calm brilliance, she considers how the writer must stake claim to that contested territory as a young woman and shape it to her need. Things I Don't Want to Know is a work of dazzling insight and deep psychological succour, from one of our most vital contemporary writers.

The relationship between sleep and storytelling is an ancient one. For centuries, sleep has provided writers with a magical ingredient – a passage of time during which great changes miraculously occur, an Orpheus-like voyage through the subconscious daubed with the fantastic. But over the last ten years, our scientific understanding of sleep has been revolutionised. No longer is sleep viewed as a time of simple rest and recuperation. Instead, it is proving to be an intensely dynamic period of brain activity: a vital stage in the re-wiring of memories, the learning of new skills, and the processing of problems and emotions. How will storytelling respond to this new and emerging science of sleep? Here, 14 authors have been invited to work with key scientists to explore various aspects of sleep research: from the possibilities of ‘sleep engineering’ and ‘overnight therapies’, to future-tech ways of harnessing sleep’s problem-solving powers, to the challenges posed by our increasingly 24-hour lifestyles. Just as new hypotheses are being put forward, old hunches are also being confirmed (there’s now a scientific basis for the time-worn advice ‘to sleep on a problem’). As these responses show, sleep and the spinning of stories are still very much entwined. Featuring scientific contributions from: Prof Russell G. Foster, Isabel Hutchison, Dr. Simon Kyle, Dr. Penny Lewis, Dr. Paul Reading, Stephanie Romiszewski, Prof Robert Stickgold, Prof Manuel Schabus, Prof Ed Watkins, Prof Adam Zeman, Dr. Thomas Wehr. This project was supported by the Wellcome Trust.

Adapted from the story of the same title from the author's short story collection Black Vodka, which was published in 2013 by And Other Stories.

From the Man Booker Prize-shortlisted author of Swimming Home, a single volume comprising her first two novels: Beautiful Mutants, long out of print, and Swallowing Geography, never before published in the United States. Beautiful Mutants, Deborah Levy's surreal first novel, introduces a manipulative and magical Russian exile who summons forth a series of grotesques--among them the Poet, the Banker, and the Anorexic Anarchist. Levy explores the anxieties that pervaded the 1980s: exile and emigration, broken dreams, crazed greed and the first seeds of the global financial crisis, self-destructive desires, and the disintegration of culture. It is a feverish allegory written in prose so beautiful and acrobatic that it could only come from a poet. This remarkable and pioneering debut is as much about language as it is the world that ensnares and alienates us. In Swallowing Geography, J. K., like her namesake Jack Kerouac, is always on the road, traveling Europe with her typewriter in a pillowcase. She wanders, meeting friends and strangers, battling her raging mother, and taking in the world through her uniquely irreverent, ironic perspective. Levy blends fairytale with biting satire, pushing at the edges of reality and marveling at where the world collapses in on itself. In this stunningly original novel, Deborah Levy searches deep into the heart of the late-twentieth century and does not hold back on what she finds there.

The image is instant. It whirs out of the camera and they all watch it develop in silence. "Here." He gives the photograph to the perfect flawless woman without looking at it, by way of apology. When everyone gathers around Luciana to admire it, Gustav clicks again. The unloved look brave. The unloved look heavier than the loved. Their eyes are sadder but their thoughts are clearer. They are not concerned with pleasing or affirming their loved one's point of view. The unloved look preoccupied. The unloved look impatient. A group of hedonistic tourists--from Algeria, England, Poland, Germany, Italy, France, and America--gathers to celebrate the holidays in a remote French chateau. Then a woman is brutally murdered, and the sad, eerie child Tatiana declares she knows who did it. The subsequent inquiry into the death, however, proves to be more of an investigation into the nature of identity, love, insatiable rage, and sadistic desire. The Unloved offers a bold and revealing look at some of the events that shaped European and African history, and the perils of a future founded on concealed truth.

A mysterious woman who suffers from mental illness suddenly appears at a vacation villa where two families are staying and her interactions with them reveal secret details about their past and tensions within their relationships with each other.