Bøker av Judith Hermann

The bestselling voice of Europe's fastest-growing, fastest-living city: the new Berlin.'The little jewellery box also held the red coral bracelet from Nikolai Sergeyevich. Its six hundred and seventy-five little coral beads were strung onto a silken thread, and they glowed as red as rage. My great-grandmother put the hairbrush down in her lap. She closed her eyes for a long time. Then she opened her eyes again, took the red coral bracelet from the little box and fastened it around her left wrist. Her skin was very white. That evening, for the first time in three years, she shared a meal with my great-grandfather.'Coral bracelets 'as red as rage' from Russian lovers; a sad old woman who nonetheless 'sometimes sang and winked with her left eye and laughed till the tears came'; country houses 'away from Berlin, linden trees out front, chestnuts in the back, sky above': 'The Summer House, Later' is an elegant, measured, reflective collection of stories which captures beautifully the promise of bright colours lying just out of reach of our grey daily routines.Set in and around Europe's fastest-growing, fastest-living city, these stories take as their starting point the monotony of modern urban life - the endless antennas and chimneys, the pigeons in the gutters - and looks beyond them to 'the narrow strip of sky over the rooftops'. The literary sensation of the year in her native Germany, Judith Hermann is a wonderfully talented young writer whose ability to find drama and beauty in the smallest, most trivial moments makes 'The Summer House, Later' a very special debut indeed.

The brilliant second collection of stories from Germany's answer to Zadie Smith. Judith Hermann's first collection, 'The Summer House, Later', sold 250,000 hardbacks in Germany, and was shortlisted for both the IMPAC award and the Independent Foreign Fiction Prize.Judith Hermann's first book, 'The Summer House, Later' was described as 'a book about a certain kind of young woman, trying to get a boyfriend, to get some fun out of life, but with a sense of melancholy and a sense of loneliness that seems to define a generation'.Now in Hermann's second collection, 'Nothing but Ghosts', that generation has moved on, grown up perhaps, and the women have indeed found boyfriends but the relationships, described here with painstaking honesty, are all on the turn in some way and have passed their first flush of romantic love. We join many of these characters just as they have stopped communicating; the talking has stopped and the women, with their lives in stasis, have become watchful and disappointed and are starting to turn their gaze elsewhere...