Nadia Yala Kisukidi builds on the tradition of magic realism, of the adventure novel, and of poetry and puts into light how one can escape social violence, refuse to let oneself be determined by it, and invent a form of resistance.

Jane Sautière’s memories are experienced both individually and collectively. Her personal story meets our common one, and it is at their junction that the story is maintained. From there, it observes, absorbs, and “confronts aging, what is collapsing, to see in the imprescriptible original forms.”

When it comes to Gaëlle Obiégly’s novels, it’s always a fine balancing act. It’s not a matter of plot in the classic sense, and even less so a message, or a position. We've found it quite impossible to resists the grace that exudes from its pages.

July 30, 1972. Jean and Melvin McNair, their two kids, and 3 accomplices hijack a plane. Their goal is to get a one million dollar ransom and to escape to Algiers. An FBI agent, in just a bathing suit, runs across the tarmac to bring them the requested ransom. No gun would fire, no one would be hurt.

“We tell ourselves stories in order to live.” Thus begins Joan Didion’s White album. Stories have been essential to Minh Tran Huy since childhood. So much so that they form the backbone of her life, a life that keeps her busy, as a journalist during the day, novelist at night, and full-time mother and wife.

When she first conceived of La Vie Clandestine, Monica Sabolo intended to write an easy-to-read book about a notorious crime — the murder of Renault CEO Georges Besse, by Action Directe, a far left terrorist group active in the late 1970s and '80s. Easy, fast and painless, that’s how she envisioned this project, “as remote from her own story as…