Annie Ernaux is our Author of the Month for September. Find out more about her work here.
From the publisher:
Considered by many to be the iconic French memoirist’s defining work, The Years is a narrative of the period 1941 to 2006 told through the lens of memory, impressions past and present, cultural habits, language, photos, books, songs, radio, television, advertising and news headlines. Annie Ernaux invents a form that is subjective and impersonal, private and communal, and a new genre – the collective autobiography – in order to capture the passing of time. At the confluence of autofiction and sociology, The Years is ‘a Remembrance of Things Past for our age of media domination and consumerism’ (New York Times), a monumental account of twentieth-century French history as refracted through the life of one woman.
The White Review Books of the Year 2018 | The Year in Literature: frieze
‘The Years is a revolution, not only in the art of autobiography but in art itself. Annie Ernaux’s book blends memories, dreams, facts and meditations into a unique evocation of the times in which we lived, and live.’
— John Banville, author of Mrs Osmond
‘I’ve just finished Happening by Annie Ernaux, in which she writes about her experience of unwanted pregnancy and illegal abortion in 1960s France. The Years was one of my favourite reads of last year and that same rigorous clarity of vision – even when dealing with the complex or ambiguous – is just as evident here again. The experience of living simultaneously on the inside and outside of your own body is very particular to the female experience I think – and not only in relation to pregnancy but in myriad other ways too. I like the measured, unforgiving way she works her way through the logic, or illogic, of that. I find her work extraordinary.’
— Eimear McBride, author of A Girl is a Half-Formed Thing
‘One of the best books you’ll ever read.’
— Deborah Levy, author of Hot Milk
‘The author of one of the most important oeuvres in French literature, Annie Ernaux’s work is as powerful as it is devastating, as subtle as it is seething.’
— Edouard Louis, author of The End of Eddy