The first in Deborah Levy's essential three-part 'Living Autobiography' on writing and womanhood.

'Unmissable. Like chancing upon an oasis, you want to drink it slowly . . . Subtle, unpredictable, surprising' Guardian
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Taking George Orwell's famous essay, 'Why I Write', as a jumping-off point, Deborah Levy offers her own indispensable reflections of the writing life. With wit, clarity and calm brilliance, she considers how the writer must stake claim to that contested territory as a young woman and shape it to her need.

Things I Don't Want to Know is a work of dazzling insight and deep psychological succour, from one of our most vital contemporary writers.

The final two instalments in Deborah Levy's 'Living Autobiography', The Cost of Living and Real Estate, are available now.
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'Superb sharpness and originality of imagination. An inspiring work of writing' Marina Warner

'An exciting writer, sharp and shocking as the knives her characters wield' Sunday Times

'A writer whose anger and confusion in the face of the world transform into poetic flights of fancy . . . which always feel marvellously right' Independent

SHORTLISTED FOR THE BOOKER PRIZE 2016
SHORTLISTED FOR THE GOLDSMITHS PRIZE 2016

Plunge into this hypnotic tale of female sexuality and power - from the author of Swimming Home and The Man Who Saw Everything

'Propulsive, uncanny, dreamlike. A feverish coming-of-age novel' Daily Telegraph

'A triumph of storytelling' Literary Review
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'Today I dropped my laptop on the concrete floor of a bar built on the beach. My laptop has all my life in it and knows more about me than anyone else. So what I am saying is that if it is broken, so am I . . .'

Two women arrive in a village on the Spanish coast. Rose is suffering from a strange illness and the doctors are mystified. Her daughter Sofia has brought her here to find a cure with the infamous and controversial Dr Gomez - a man of questionable methods and motives. Intoxicated by thick heat and the seductive people who move through it, both women begin to see their lives clearly for the first time in years.

Through the opposing figures of mother and daughter, Deborah Levy explores the strange and monstrous nature of womanhood. Dreamlike and utterly compulsive, Hot Milk is a delirious fairy tale of feminine potency, a story both modern and timeless.
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'Perfectly crafted. So mesmerising that reading it is to be under a spell' Independent on Sunday

'Hot Milk treads a sweaty, sun-drenched path into the history books. A properly great novel' Romola Garai

'Hot Milk is an extraordinary novel, beautifully rich, vividly atmospheric and psychologically complex... Every man and woman should read it' Bernardine Evaristo

'Hypnotic... This novel has a transfixing gaze and a terrible sting that burns long after the final page is turned' Observer

'Terrific, sizzling with heat and sexuality . . . You devour it in one sitting' Radio Times

A GUARDIAN BEST BOOK OF THE 21ST CENTURY
WINNER OF THE PRIX FEMINA ETRANGER 2020

Following on from the critically acclaimed Things I Don't Want to Know, discover the powerful second memoir in Deborah Levy's essential three-part 'Living Autobiography'.

'I can't think of any writer aside from Virginia Woolf who writes better about what it is to be a woman' Observer
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'Life falls apart.
We try to get a grip and hold it together.
And then we realise we don't want to hold it together . . .'

The final instalment in Deborah Levy's critically acclaimed 'Living Autobiography', Real Estate, is available now.
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'I just haven't stopped reading it . . . it talks so beautifully about being a woman' Billie Piper on BBC Radio 4's Desert Island Discs

'It is the story of every woman throughout history who has expended her love and labour on making a home that turns out to serve the needs of everyone except herself. Wonderful' Guardian

'Wise, subtle and ironic, Levy's every sentence is a masterpiece of clarity and poise . . . a brilliant writer' Daily Telegraph

'A graceful and lyrical rumination on the questions, "What is a woman for? What should a woman be?"' Tatler

'Extraordinary and beautiful, suffused with wit and razor-sharp insights' Financial Times

From one of the great thinkers and writers of our time, comes the unmissable final instalment in Deborah Levy's critically acclaimed 'Living Autobiography'.

'A beautifully crafted and thought-provoking snapshot of a life' The Evening Standard
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'I began to wonder what myself and all unwritten and unseen women would possess in their property portfolios at the end of their lives. Literally, her physical property and possessions, and then everything else she valued, though it might not be valued by society. What might she claim, own, discard and bequeath? Or is she the real estate, owned by patriarchy? In this sense, Real Estate is a tricky business. We rent it and buy it, sell and inherit it - but we must also knock it down.'

Following the critical acclaim of Things I Don't Want to Know and The Cost of Living, this final volume of Deborah Levy's 'Living Autobiography' is an exhilarating, thought-provoking and boldly intimate meditation on home and the spectres that haunt it.
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'Real Estate is a book to dive into. Come on in, the water's lovely' The Daily Telegraph

'Her reflections on domesticity, freedom and romance are so beautiful, I found myself underlining multiple sentences a page. Wry, warm and uplifting, it's a book I'll return to again and again' Stylist

'[Levy's living autobiography series is] a glittering triple echo of books that are as much philosophical discourse as a manifesto for living and writing' Financial Times

LONGLISTED FOR THE BOOKER PRIZE 2019
SHORTLISTED FOR THE GOLDSMITHS PRIZE 2019

'An ice-cold skewering of patriarchy, humanity and the darkness of 20th century Europe' The Times
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'It's like this, Saul Adler.'
'No, it's like this, Jennifer Moreau.'

In 1988, Saul Adler is hit by a car on the Abbey Road. Apparently fine, he gets up and poses for a photograph taken by his girlfriend, Jennifer Moreau. He carries this photo with him to East Berlin: a fragment of the present, an anchor to the West.

But in the GDR he finds himself troubled by time - stalked by the spectres of history, slipping in and out of a future that does not yet exist. Until, in 2016, Saul attempts to cross the Abbey Road again . . .
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'A time-bending, location-hopping tale of love, truth and the power of seeing. Thoroughly gripping' Sunday Telegraph

'Writing so beautiful it stops the reader on the page' Independent

'Levy splices time in artfully believable, mesmerizing strokes' Lambda Literary

'Skewering totalitarianism - from the state, to the family, to the strictures of the male gaze - Levy explodes conventional narrative to explore the individual's place and culpability within history' Guardian

'An utterly beguiling fever dream' Daily Telegraph

El cierre de la Autobiografía en construcción de una Deborah Levy

que logra su habitación propia.

Deborah Levy imagina una casa en una latitud cálida, cerca de un lago o de un mar. Allí hay una chimenea y un mayordomo que atiende sus deseos, hasta el de discutir. Pero Levy en realidad está en Londres, no tiene dinero para construir el hogar que imagina, su apartamento es minúsculo y lo más parecido a un jardín en su casa es un banano al que entrega los cuidados que sus hijas ya no necesitan. La menor ha abandonado el nido, y Levy, a sus cincuenta y nueve años, está lista para afrontar una nueva etapa en su vida. Así, nos lleva desde Nueva York a Bombay, pasando por París y Berlín, mientras teje una estimulante y audaz reflexión sobre el significado del hogar y de los espectros que lo acechan.

Entretejiendo el pasado y el presente, lo personal y lo político, y convocando a Marguerite Duras, Elena Ferrante, Georgia O’Keeffe o Céline Schiamma, la autora indaga en el significado de la feminidad y de la propiedad. A través de sus recuerdos hace inventario de sus posesiones reales e imaginarias y cuestiona nuestra forma de entender el valor de la vida intelectual y cotidiana de la mujer. Después de Cosas que no quiero saber y El coste de vivir, esta obra es la culminación de una autobiografía escrita en el fragor de una vida que no está solamente protagonizada por Levy, sino por todas las mujeres que la sostienen con una red invisible.

Reseñas:

«La voz imprevisible, tierna, incisiva, entristecida y entusiasta de la Levy biógrafa ofrece un festín literario.»
Gonzalo Torné, El Cultural

«Por supuesto, Levy es feminista, su autobiografía desvela no solo una postura como mujer, también esa visión impregna otros temas como la migración, el imperialismo, el racismo o el amor. Estos textos según Levy tenían que narrar dos aspectos que nunca coexisten: el poder de los hombres y la vulnerabilidad que se permite la mujer al escribir.»
Ariana Basciani, The Objective

Sobre Cosas que no quiero saber:

«Una narración vivaz y brillante sobre cómo los detalles más inocentes de la vida personal de una escritora pueden alcanzar el poder en la ficción.»
The New York Times Book Review

«Un relato vívido y sorprendente de la vida de la escritora, que feminiza y personaliza las contundentes a afirmaciones de Orwell.»
The Spectator

Sobre El coste de vivir:

«Derrocha en el segundo tomo de su autobiografía tanto hallazgos expresivos como verdades acendradas [...] en un tapiz algo descosido que sin embargo se lee con delectación y donde rubrica sobre todo el regreso a los planteamientos de Simone de Beauvoir en El segundo sexo; esto es, vuelve a admitir la dificultad desquiciante de conjugar pareja, maternidad e independencia intelectual.»
El Periódico

«El coste de vivir es el precio que debe pagar una mujer para desmontar un hogar en el que ya no se siente como en casa.