83:T515,

Cecilia är fast besluten av lyckas som reklamare. Ted har bara halkat in på det här med restaurant. De är ganska olika men när de träffas avslutar Ted genast den relation han har för att leva med Cecilia. Men den målmedvetna är inte alltid den som lyckas bäst. Det kan vara den som lämnat ödet åt slumpen som blir framgångsrik. Ted tar fram ett krogkoncept och etablerar nya ställen på löpande band. Han är dessutom en ansvarsfull familjefar. Det som stör bilden av den perfekta familjemannen är att hans tidigare relation resulterat i en graviditet och att modern valt att behålla barnet. Ted tvingas att bli "pappan som svek" i relation till dottern Beatrice. Cecilia är inte lycklig över Beatrices existens och det blir viktigt att snabbt få egna barn. Efter bara något år föds Maria och sedan Karl. Livet rullar på och med det en dov känsla av att allt snart är för sent.Med precision avtäcker Anna Schulze våra vardagliga tillkortakommanden och de där små stegen som tar oss närmare och närmare avgrunden. Med klar blick och absolut gehör har hon skrivit en samtida äktenskapsroman som lämnar stort avtryck. Vårt gemensamma liv är en roman om de val vi gör (eller inte gör) och om att det enkla konceptet inte alltid är den bästa lösningen.

84:T705,

Stockholm, våren 1968. Monica lever i en stillastående relation med en tråkig pojkvän och försörjer sig tillfälligt som krokimodell. När hon träffar konststudenten Tobias blir hon omedelbart förälskad, och lämnar allt. Genom Tobias introduceras hon för den revolutionära aktionsgruppen Rebellerna. I början är allting mest lekfulla upptåg, men steg för steg förändras både hon och rörelsen, och drömmen om att förändra världen blir en mardröm. Rebellerna är en berättelse med verklig bakgrund, om kärlek och uppror. En bok full av mörker och livsglädje. "... 'Rebellerna' är en regelrätt fullträff /.../ 'Rebellerna' är både skrämmande och vansinnigt underhållande -- och kommer troligen vara en årets bästa svenska romaner." Dagens Nyheter "Jag hade svårt att lägga ner boken ens för att äta eller sova, innan jag fick reda på hur det gick för Monica och de andra ungdomarna. Kanske är den här romanen det bästa Lukas Moodysson skrivit." Skånska Dagbladet "en jävla bra roman ..." Göteborgs-Posten "Att göra avbön är enkelt. Lukas Moodysson låter sin rebell vara mer komplicerad än så. Hon är framför allt, ung såväl som gammal, full av liv. På gott och ont. Avståndet spelar viktig roll. Åren som gått. Hur tiden, eventuellt, förändrar oss. Och hur vi förhåller oss till den person vi en gång var. [...] Med Moodysson vet man inte om det han skriver är lek eller dödsallvar. Men resultatet blir just därför dynamiskt, irriterande intressant, ingen färdig psykfallsstudie." Arbetarbladet "Moodysson är kunnig och vet hur man skapar spänning, gör väl bruk av tillgängligt dokumentärt material och väjer inte för att gestalta sin huvudperson som förarglig eller rent ut sagt ondskefull." Svenska Dagbladet

85:T4a8,

I novellsamlingen ”Ditt nya stjärntecken” möter vi, bland många andra, den nyseparerade mannen som en dag plötsligt börjar få imperativa budskap från bokryggarna hemma i lägenheten; arbetskamraterna, vars roller i gruppen förändras under en gemensam stugsemester; mannen som upptäcker att Hesa Fredrik har bytt tonart. Och så får vi läsa om en förlupen hatt på Härnösands tågstation.

Med sin sedvanliga kombination av humor och allvar skriver Jonas Karlsson om mänskliga tillkortakommanden. Om individer och existenser, på kant med sig själva. Är det inte självbilden så är det omgivningen som stökar till det. Eller den fixa idén.

”... höjdpunkterna i samlingen är rent guld.” /Maria G Francke, Sydsvenskan

”Ofta skrattar jag högt under läsningen. (...) Detta är faktiskt en utmärkt bok för just en tågresa – när man är var som helst, i ett mellanrum. Det är där Karlssons figurer bor.” /Martina Montelius, Göteborgs-Posten

”Det är när han får till denna blandning av realism och lätt absurdism som hans novellkonst blir bra på riktigt.” /Marit Furn, Svenska Dagbladet

86:T517,

“Jag kom fram till London utan ett enda missöde. Mitt liv har inte bjudit på många triumfer på sistone, men det här får jag nog bestämt räkna som en sådan. Faktum är att de tre senaste åren har varit ett enda långt missöde.”

Ingen har sagt att det är lätt att vara Emma M. Lion. Året är 1883 och efter tre år i tjänst hos den horribla Matilda återvänder tjugoåriga Emma M. Lion till sitt barndomshem i London – det stora huset Lapis Lazuli i St Crispian’s, uppkallat efter sin skinande blå dörr. Men Emmas planer på ett lättsamt och okomplicerat liv saboteras av hennes formidabla men skräckinjagade tant Eugenia, den snikne och obehaglige kusin Archibald och de excentriska invånarna i St Crispian’s. Förvisad till den dragiga vinden börjar Emma steg för steg återta sin plats i huset – och i sitt eget liv. När Emma övertalar Archibald att hyra ut den tillhörande lägenheten, flyttar en mörk och stilig hyresgäst in (ljuva öde) – och nya förvecklingar tar sin början.

Emma M. Lions ocensurerade dagböcker (hur självutlämnande de än är) är nu tillgängliga för allmän beskådan och läsning. Beväpnad med en vass penna, skarpa ögon och massor med charm nedtecknar Emma sin besynnerliga vardag i Lapis Lazuli.

87:T4cc,

Mitt riktiga namn är Elisabeth är Adèle Yons prisbelönta och uppmärksammade debut, en litterär undersökning av familjehemligheter, kvinnovåld och nedärvda trauman. I centrum står Elisabeth, författarens gammelfarmor, som på 1950-talet spärras in på mentalsjukhus av sin make. Under sjutton år hålls hon institutionaliserad samtidigt som hon föder fem av parets sex barn som omedelbart tas ifrån henne. Hon utsätts för upprepade elchockbehandlingar innan hon slutligen lobotomeras.

När Yon börjar söka sanningen om Elisabeths öde växer berättelsen till något större: en genomträngande granskning av hur föreställningar om kvinnlig »galenskap« har använts för att tysta och kontrollera kvinnor. Med hjälp av brev, journaler, intervjuer och arkivmaterial rör sig författaren fritt mellan essä, reportage och roman. Resultatet är en djupt gripande och formmässigt nyskapande text som har samma driv som en kriminalroman – och med en stark fråga i centrum: kan skrivandet vara en form av rättvisa?

Sedan utgivningen i Frankrike 2025 har boken blivit ett fenomen med över 300 000 sålda exemplar och belönats med flera av landets främsta litterära priser.

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Kvinnan som gick in i dörrar heter Paula Spencer. Hon berättar om sitt liv, om uppväxten i Dublin och om sitt långa plågsamma äktenskap med Charlo.

Deras kärlekshistoria är passionerad men grym och hopplös. Han misshandlar henne ofta och hon får ständigt ljuga om att hon gått in i en dörr, eller att hon ramlat i trappan. Paula ser ingen ljusning på eländet utan dricker för att döva smärtan i kropp och själ. Men när hon en dag märker att Charlo börjat kasta blickar efter deras äldsta dotter förmår hon sig äntligen att slänga ut honom.

Ett osedvanligt starkt kvinnoporträtt.

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\"Amos Oz är förnuftets röst i det kaos av lögner och hysterisk retorik som präglar den globala debatten om pågående konflikter\", skriver den sydafrikanska Nobelpristagaren Nadine Gordimer i förordet till Hur man botar en fanatiker.I denna högaktuella lilla bok berättar den israeliske författaren Amos Oz med humor, insikt och klokhet om hur han ser på konflikten mellan israeler och palestinier och hur den kan lösas. Här har bägge parter rätten på sin sida och det går inte att göra en enkel indelning i \"onda\" och \"goda\". Det enda tänkbara, enligt Oz, är en framförhandlad tvåstatslösning inriktad på att uppnå varaktig fred. En mycket smärtsam kompromiss där delningen av landet nästan blir som en amputering för båda sidor.

Amos Oz tar också upp den tilltagande fanatismen runtom i världen, analyserar dess karaktär och ger recept på hur man bäst bemöter den.

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Kreol är en färgstark bok om jazzen och dess ursprung, men också en levande och engagerad kulturhistoria om den franska och afrikanska blandkultur som uppstod i New Orleans redan under 1700-talet. Sedan boken utkom för första gången 1991 har nytt viktigt material tillkommit som förändrar bilden av flera av de musikpionjärer som där skildrades. Förutom en grundlig bearbetning av flera delar har två nya kapitel infogats: det ena om pianisten Jelly Roll Morton och det andra om Storyville, New Orleans nöjesdistrikt. Boken har också försetts med en diskografi som ger tips om viktiga skivinspelningar.

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Världsreportern och resenären Staffan Heimerson är tillbaka, denna gång med rövarhistorier, resereportage och reflektioner kring Afghanistan - dess historia, dess folk och den senare tidens elände. Heimerson har varit där många gånger ända sedan 70-talet. Nu skickade Aftonbladet dit honom igen som krigskorrespondent och han satte upp sin bas i grannlandet Pakistans huvudstad Islamabad. Med sedvanlig skärpa och bett i analysen visar han vad talibanregimen har inneburit för vanligt, hyggligt folk.

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Är det animas röst som dikten förmedlar? Är det i själva verket hon som är dikten? I sin nya diktsamling undersöker Gunnar Harding den outvecklade kvinnliga sidan av det manliga psyket, det som C.G. Jung kallade anima. Det är ur dessa omedvetna regioner som poesin stiger. Där kan anima ses som poesins överbringare, en gestalt som bär orden från det dolda till det synliga.

Gunnar Harding var senast aktuell med diktsamlingen Minnen från glömskans städer (2023) och tolkningar av Lord Byron i urvalsvolymen O dåna Ocean (2025). Anima är hans tjugoandra egna diktbok sedan debuten med Lokomotivet som frös fast (1967).

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Det kunde ha gått mycket värre, Sanna Karlén hade tur som kom undan rånförsöket med endast ett fult ärr. Och det finns definitivt ingen anledning att fortfarande känna sig så orolig och ängslig flera veckor senare, se sig över axeln och vara på helspänn hela tiden.

Hon borde ta sig i kragen, börja skriva på nästa bok och sluta tänka bakåt. Sluta inbilla sig saker. Det som hände den där kvällen utanför porten var något som kunde ha drabbat vem som helst. Ingenting personligt. Eller?

Ingenting personligt är en ny, fristående spänningsroman från Maria Adolfsson, författaren till Doggerland-serien samt Sanning, lögn och konsekvens och Eget grepp.

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Irland, sommaren 1976. Lugnt och tålmodigt drar Silver den enorma campingvagnen på de smala vägarna. Det här ska bli min bästa sommar, bestämmer Sara. Hon är nio år och Silver är en dröm som gått i uppfyllelse, platserna de besöker har ett skimmer över sig. Men familjens semester tar en chockartadvändning när Silver råkar i sken. Plötsligt ligger pappa i en konstig vinkel vid vägkanten.

Hur lever man vidare när man vet att livet kan förändras på en sekund? Och hur skriver man om det som inte går att närma sig?

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När fru Shim – arbetslös slaktare, änka och två barn att försörja – svarar på Den leende detektivbyråns jobbannons tycks hennes lycka vara gjord. Hennes nya arbetsgivare menar att hennes lediga handlag med kniven och oansenliga yttre gör henne som klippt och skuren för jobbet som lönnmördare. Med anställningen följer också flexibla arbetstider och en saftig lön. Kort sagt: Fru Shim passar in i jobbeskrivningen som en hand i mördarens handske, men inser snart att det spelar ingen roll hur duktig man är med en kniv; att vara en lönnmördare är ett stressigt yrke och inget i livet är gratis.

Den koreanska succéromanen ”Lönnmördaren fru Shim” är en fyndig, spännande och knivskarp bladvändare om en osannolik lönnmördare och antihjälte.

\"En av de mest udda och bästa böcker jag läst på länge.\" DAST Magazine

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Grand final! I vår är det den 18 november. Igen.

Med Om uträkning av omfång 7 fullbordar Solvej Balle sin stora septologi - en av de mest egensinniga och omvälvande romanprojekten i ny nordisk litteratur. Sedan Tara Selter fastnade i den artonde november har hon och en växande skara människor tvingats finna sätt att leva i en tid som går i en loop. Ur ensamheten har en större gemenskap vuxit fram och Solvej Balles undersökning av tid och rum har samtidigt blivit en berättelse om hur vi lever tillsammans.

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Vad är litteraturens uppgift? I essäboken Vad gör vi med litteraturen? diskuterar Édouard Louis, en av nutida Frankrikes mer distinkta författarröster, litteraturens och teaterns aktivistiska roll i samhället, relationen mellan estetik, känslor och politik samt om hur poetiska metoder kan vara kopplade till förändringar i samhället. Louis pekar på hur de liv han skildrar måste få läsaren att gråta om han inte ska förråda dem, eftersom det är så underklassens liv ofta ser ut: utslitna, dominerade, osynliggjorda. Louis vill i sina böcker konfrontera läsaren, tvinga dem att se dessa liv, se hur den politik som bedrivs har en direkt återverkan på de utsattas kroppar.

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London, 1938. Europa håller andan inför en oviss framtid när Richard Hadley efter en matinéföreställning möter den gåtfulla Miss Lambert, och ett till synes obetydligt sammanträffande utvecklas snart till något långt större. När han fast besluten att försvara henne mot de hotfulla krafter som tycks närma sig följer efter henne till ett tjusigt hotell på den engelska landsbygden, och sedan vidare till Skottland, dras han in i en värld av hemligheter, förvecklingar och dolda lojaliteter.

I Miss Lambert i farans riktning förenar Kazuo Ishiguro spionromanens klassiska lockelse med sin egen säregna blick för människors längtan, självbedrägerier och missförstånd. Med humor, elegans och en filmisk känsla för stämning skapar Nobelpristagaren en berättelse där romantik, musik och fara vävs samman – och där ingenting är riktigt som det först verkar.

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”Jag satt vid skrivbordet med en kopp te och läste med fönstren på vid gavel, när jag hörde hyresgästen komma in på sin vindskammare, precis på andra sidan väggen om mig.”

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Anja von Klint har bestämt sig för att följa i sin mamma Charlottes fotspår och bli polis. Nu har hon lämnat studiestaden Umeå för sin första tjänst som brottsutredare i Storuman, där tystnaden och avstånden blir en större utmaning än hon väntat sig. När en serie brutala överfall skakar Umeå dras hennes mamma Charlotte och kollegan Per in i en utredning som visar sig ha förgreningar ända upp till Anjas nya hemort. I den digitala världen är Storuman inte tryggt och avsides, utan mörkret kan ta sig in från alla håll och går inte att stänga ute.

Blå vägen är den väg som binder samman kuststaden Umeå med Storuman i inlandet. Den har fått ge namn åt en ny serie om de omåttligt populära poliskollegorna och vännerna Charlotte von Klint och Per Berg, nu med en tredje huvudperson i Charlottes alldeles nyutexaminerade dotter Anja von Klint.

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Herdis är elva år, men växer fort. Hon bor nu hemma hos sin mor i Elias Rachlevs stora vackra våning. Flickorna i kvarteret har hamnat längre bort, spanska sjukan härjar vilt liksom börshajarna som anar guld i krigets fotspår. Herdis mor Franziska och Elias flyttar till Köpenhamn för att rädda hans företag. Herdis följer med och till den nya vita villan i Hellerup skickar bästa vännen Julia sina längtande brev. Hon har tuberkulos och vet att hon inte har lång tid kvar att leva. Herdis vill skriva till henne, men det går inte. Hur skriver man det man verkligen menar? Allt i Herdis liv blir till stor dramatik, men bara i den hemliga dagboken kan hon formulera det äkta, sanna och sköna.

Vid nästa nymåne, den sista delen i Torborgs Nedreaas trilogi om Herdis Hauge, är en gripande och spännande resa in i en ung kvinnas kropp och sinne. Herdis har sin vilda fantasi i behåll, sitt öppna bultande hjärta och ett begynnande begär efter att skriva.

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I tecknandet av sin egen familjs berättelse har turen nu kommit till skildringen av Édouard Louis äldre bror, som dog innan han hann fylla fyrtio år. ”Kollapsen” är en berättelse om alkohol, våld och destruktivitet. Den ställer frågan om det går att förstå ett monster – någon som misshandlade kvinnor, misshandlade sin familj; sårade allt och alla, inklusive sig själv. Som var en rasist och aggressiv homofob, med ett på flera sätt miserabelt liv.

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I Sångbok vänder dikten sig till sången och söker en ursprunglig melodi eller ett universellt minne. Den sorterar bland egna minnen och vill reda ut vad som är sant. Om Boyacioglus förra bok kunde läsas som en diasporaberättelse vill Sångbok skriva fram ett nytt hem. Därför måste den utmana såväl en rasistisk samhällsordning som den egna känslan av utanförskap. Sångbok rör sig mellan samhällets stora frågor i vardagens små bilder och besjunger kärleken -- det ett hem måste byggas av.

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28 september 1994 dog Amandas mamma i en av de största katastroferna Sverige har upplevt i modern tid. Trettio år senare, som 40-åring, är Amanda tillbaka i Stockholm med två egna barn och öppnar en kartong märkt ‘Estonia’ på sin pappas vind. Minnet av mammans kollega återvänder, han som en gång sa: “Jag var med din mamma på båten. Och om du vill att jag berättar om hennes sista tid i livet så gör jag gärna det.” Det är startskottet på en resa som tar henne genom haverirapporter och konspirationsteorier, ombord på fartyg och ner under ytan. Förbi minnesstunden på Djurgården där kungen håller tal och blåsorkestern spelar, fram till ett radhus i Nacka där hon får höra om rån och slagsmål på Estonias däck och att mammans tröja var blårandig när hon dog.

På kristallklar prosa skriver Amanda Fromell fram ett barns sorg, att vara personligt berörd i ett nationellt trauma och att bli mamma utan en egen mamma.

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