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.

In her latest work, Annie Ernaux recounts a relationship with a student thirty years her junior – an experience that transforms her, briefly, back into the ‘scandalous girl’ of her youth. When she is with him, she replays scenes she has already lived through, feeling both ageless and closer to death. Laid like a palimpsest on the present, the past’s immediacy pushes her to take a decisive step in her writing – producing, in turn, the need to expunge her lover. At once stark and tender, The Young Man is a taut encapsulation of Ernaux’s relationship to time, memory and writing.

Getting Lost is the diary kept by Annie Ernaux during the year and a half she had a secret love affair with a younger, married man, an attache to the Soviet embassy in Paris. Her novel, Simple Passion, was based on this affair, but here her writing is immediate and unfiltered. In these diaries it is 1989 and Annie is divorced with two grown sons, living in the suburbs of Paris and nearing fifty. Her lover escapes the city to see her there and Ernaux seems to survive only in expectation of these encounters. She cannot write, she trudges distractedly through her various other commitments in the world, she awaits his next call; she lives merely to feel desire and for the next rendezvous. When he is gone and the moment of desire has faded, she feels that she is a step closer to death. Lauded for her spare prose, Ernaux here removes all artifice, her writing pared down to its most naked and vulnerable. Translated brilliantly for the first time by Alison L. Strayer, Getting Lost is a haunting record of a woman in the grips of love, desire and despair.

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.

A meditation on the big-box superstore, from 2022 Nobel laureate Annie Ernaux For half a century, French writer Annie Ernaux has restlessly explored stories and subjects often considered unworthy of artistic reflection. In this exquisite meditation, Ernaux turns her attention to the phenomenon of the big-box superstore, a ubiquitous feature of modern life that has received scant attention in literature. Recording her visits to a single superstore in Paris for over a year, Ernaux captures the world that exists within its massive walls. Culture, class, and capitalism converge, reinscribing the individual's role and rank within society while absorbing individuality into the machine of mass consumerism. Through Ernaux's eyes, the superstore emerges as a "great human meeting place, a spectacle," a space where we come into direct contact with difference. She notes the unexpectedly intimate encounters between customers; how our collective desires are dictated by the daily, seasonal, and annual rhythms of the marketplace; and the ways that the built environment reveals the contours of gender and race in contemporary society. With her relentless powers of observation, Annie Ernaux takes the measure of a place we thought we knew, calling us to question the experiences we overlook and to gaze more deeply into ordinary life.