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In the Absence of Men

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Because you know we have to advance at all costs, win back inches of ground from the enemy, reach the barbed wire hundred meters ahead. Th incessant thunder of cannon-fire flings bodies into the air, hurls bodies that are crippled, mangled, mutilated into the tracery of the shellfire. In the summer of 1916, the emotionally precocious Vincent, who is the same age as the century, awakens to the possibilities of both erotic and platonic love. It is here that the book grabs you by the heartstrings and refuses to let go by delivering,first a revaluation about one character that, while obvious given the books setting, is presented in such a skillful way that the heartbreak feels utterly real.

forward, crouch, resting on one knee on the ground, stop, aim, perhaps kill someone, set off again, hope that we are not in someone else's sights.In the course of his career, his translations have earned him the IMPAC Prize for Atomised by Michel Houellebecq (2002), the Independent Foreign Fiction Prize (2005), and he has twice been awarded the Scott Moncrieff Prize for translation in 2008 and most recently in 2016 for Harraga by Boualem Sansal. I had this idea that LGBT literature is all about superficial stories about the lives of LGBT people, arguing for acceptance from the straight world.

par les récits de cette guerre que je n'ai pas connu, par l'intimité des lettres échangées, par le discours de Vincent.Part 1 of this book has lots of intimate talk, as these friendships and love develop while Arthur is home for a week from The Great War. Then there are books I love because they completely absorb me into their world, with characters I feel drawn to, and almost feel like I care about their stories in real terms.

Depois de Lie With Me, fiquei com vontade de ler mais do Besson e o escolhido foi esse seu primeiro romance. Estamos em 1916 e Vincent dorme a noite toda, até ser manhã, com o filho da empregada, com a maior das descontracções. It's just that I rarely encounter books of this kind that when I actually read one, I get a little shocked.

Let’s start with the fact that the narrator of the novel, Vincent, is one of the most unpleasant characters I can think of – and in a very dull sense. Part Three offers the inevitable tragic conclusion and a sting in the tail that is so contrived that it strikes the reader as ridiculous. The first part was written in the second-person narrative as I mentioned above, which chronicled events that happened in the span of one week. FRANK WYNNE has translated over fifty works from French and Spanish by authors including Michel Houellebecq, Patrick Modiano, Ahmadou Kourouma, Tomás González and Arturo Pérez-Reverte. The urgency, dread and gravity of the situation Arthur and Vincent live through in these pages feels real to me.

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