People or not people

by Lauren Weisberger, Christine BARBASTE (Translator)

Overview

Un job qu'elle déteste, un patron méprisant, une vie sentimentale réduite à néant : Beth décide de reprendre son destin en main et démissionne sur un coup de tête. Après un repos bien mérité devant sa télé, elle accepte un boulot dans une boîte de communication. Son quotidien prend soudain une toute autre tournure : Beth troque ses pantoufles contre des escarpins et son farniente contre un agenda de ministre. Embarquée dans le tourbillon de la vie nocturne new-yorkaise, elle savoure les petits plaisirs de cette vie, jusqu'à ce qu'elle découvre que la presse people s'intéresse de près à elle...

Product Details

ISBN-13:	9782823802665
Publisher:	Univers poche
Publication date:	11/29/2012
Sold by:	EDITIS - EBKS
Format:	eBook
Pages:	389
File size:	2 MB
Language:	French

About the Author

Née en 1977 en Pennsylvanie, diplômée de l'université de Cornell, Lauren Weisberger vit à New York depuis 1999. Ancienne assistante personnelle d'Anna Wintour, rédactrice en chef de Vogue, elle a relaté son expérience dans Le Diable s'habille en Prada, premier roman de cette jeune auteure prometteuse. Ce titre s'est rapidement hissé dans les listes des meilleures ventes en France comme à l'étranger, avant d'être adapté au cinéma en 2006, avec Meryl Streep et Anne Hathaway dans les rôles principaux.
Vengeance en Prada est son cinquième roman, tous ont paru chez Fleuve éditions.
Suivez l'auteur sur Twitter : https://twitter.com/LWeisberger ou sur son site : www.laurenweisberger.com.


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Hometown:

New York, New York

Date of Birth:

March 28, 1977

Place of Birth:

Scranton, Pennsylvania

Education:

B.A. in English, Cornell University, 1999

Editorial Reviews

In Catriona Strang’s poetry, the domestic sphere is comfortably private (spherically shaped) only because a globalized technological continuum of warfare and manufacture makes it so. Corked multiplies such contradictions. First-person pronouns are plural to their rhetorical core. Memory’s a possession to be rid of. Captain Picard, you and your Château Picard are put on notice: To explore the continuum, Corked turns domestic space into a foreign planetary body, and language into a Curiosity rover. Corked touches down through vast internal distances to find a spring of our condition – as seen from here, ‘the Strang terrain’ – in Marcel Proust. The super-fine instrumentation of these poems sends back big data on the intonational and rhythmical contours of intimacy undertaking to live in a continuous (relentless) present tense. Live it.”
– Louis Cabri

“In Corked, Catriona Strang has written a miraculous book that is a poetic, political and affective Ingram CoreSource that recalibrates how a poem might work today as a representation of a moment that is both precarious and self-assured, contradictory and confident. Yet, along with its consideration of this ‘immobilized’ present, there is a compelling historical depth to this book built through an address to Marcel Proust. Strang uses the engagement with Proust as a ‘coincidental hook’ to make a powerful poetic report on ‘the current situation’ by looping it through other historical contexts. Strang lays out, carefully weighed syllable by radiant word, a terrain in which gendered and unpaid labour, resource extraction, off-shoring, and the calculation of value are counted and countered with recurrent struggles. From her early work, TEM and Low Fancy, through her collaboration with the late Nancy Shaw, with Corked Strang solidifies a unique position in Canadian poetry.” – Jeff Derksen

“... a miraculous book that is a poetic, political and affective Ingram CoreSource that recalibrates how a poem might work today as a representation of a moment that is both precarious and self-assured, contradictory and confident..” – Jeff Derksen

"One may be compelled by Corked toward non-meanings, but not toward whatever-meanings. Meaning in this work results from an accumulation: of repititions, of contradictions, contraints, and intrusions, as in Proust. But there is no ambiguity."
– Capilano Review

"The title piece, by contrast, juxtaposes letters to Marcel Proust with ''tempered fragment'—individual poems with jags and glitches that represent 'shaky transitory moments external to capital’s seemingly omnipotent pulse.' While these poems inevitably engage the Proustian theme of memory’s precariousness, they work hardest to advocate for the 'unprofitable' and 'unproductive' work of domestic life—'the weight women carry daily.'– Canadian Literature

"One may be compelled by ‘Corked ‘ toward non-meanings, but not toward whatever-meanings. Meaning in this work results from an accumulation: of repititions, of contradictions, contraints, and intrusions, as in Proust. But there is no ambiguity."
– Capilano Review

From the Publisher