Teresita Quezada

Miranda July’s second novel confirms the brilliance of her unique approach to fiction. With July’s wry voice, perfect comic timing, unabashed curiosity about human intimacy, and palpable delight in pushing boundaries, All Fours tells the story of one woman’s quest for a new kind of freedom. Part absurd entertainment, part tender reinvention of the sexual, romantic, and domestic life of a forty-five-year-old female artist, All Fours transcends expectation while excavating our beliefs about life lived as a woman.

Eileen Myles' story is of a young female writer, discovering both her sexuality and her own creative drive in the meditative and raucous environment that was New York City in its punk and indie heyday, is engrossing, poignant, and funny. This is a voice from the underground that redefines the meaning of the word.

When Remy's grandmother dies, it means leaving her life in San Francisco and returning to a town she swore she'd never revisit, forced to confront a world she'd worked hard to put behind her over the last twelve years. She's not expecting that the first girl to ever steal her heart, the pretty, popular Fallon Lewis, is still around, and in a town this small, their paths continue to cross, much to Remy's dismay. It's hard enough seeing her first love, but it's exponentially more difficult when she can barely stand to look at the woman.

Rahel Varnhagen: The Life of a Jewish Woman is the biography of a remarkable, complicated, troubled, passionate woman, an important figure in German romanticism, the person who in a sense founded the Goethe cult that would become central to German cultural life in the 19th century, as well as someone who confronted with unusual determination and bore the burden of being both a woman in a man's world and an assimilated Jew in Germany.

Daphne always loved the way her fiancé Peter told their story. How they met (on a blustery day), fell in love (over an errant hat), and moved back to his lakeside hometown to begin their life together. He really was good at telling it…right up until the moment he realized he was actually in love with his childhood best friend Petra. Which is how Daphne begins her new story.

Una novela única, ligera y honda a la vez, que indaga en las posibilidades del género para hablar sobre el cuerpo, el mundo y las estrategias siempre insuficientes con que intentamos cartografiarlos. Al principio de Los errantes, la narradora esboza un autorretrato que es también una poética: "A todas luces yo carecía de ese gen que hace que en cuanto se detiene uno en un lugar por un tiempo más o menos largo, enseguida eche raíces. (...) Mi energía es generada por el movimiento.

Tamra never dreamed she would marry someone like Mike Mitchell: handsome, rich, a wonderful husband...until she finds out that Mike is having an affair. But Hell hath no fury like a woman scorned, and Mike Mitchell should have remembered that before he made a fool of her. Because Tamra knows something about Mike. Something he did. Something evil. And she was prepared to carry the secret to her grave. Not anymore.

Tiene treinta años, es profesora, casada con un ejecutivo, madre de dos niños. Vive en una casa confortable. Sin embargo, es una mujer helada. Igual que miles de mujeres ha sentido cómo su curiosidad, su impulso vital se iban anquilosando a fuerza de un trabajo que compaginar con compras que hacer, cenas que cocinar, baños de niños que preparar… Todo eso que se entiende por la condición normal de mujer.

«He leído lo que publicaste en tu cuenta de Insta. Eres como si una paloma se me cagara en el hombro: una guarrada asquerosa. Buáá buáá buáá soy una mierdecilla que no le interesa a nadie y berreo como un chihuahua para ver si me hago notar. Vivan las redes sociales: has logrado tus quince minutos de gloria. La prueba: te estoy escribiendo». Rebecca, una actriz en la cincuentena con una carrera en declive, responde con estas duras palabras a Oscar, un novelista cuarentón que acaba de insultarla en redes sociales.

La proclamación neoliberal de la libertad se manifiesta en realidad como un imperativo paradójico: sé libre. Domina una economía de la supervivencia en la que cada uno es su propio empresario. El neoliberalismo, con sus desinhibidos impulsos narcisistas del yo y del rendimiento, es el infierno de lo igual, una sociedad de la depresión y el cansancio compuesta por sujetos aislados.