Tous les ans, la rédaction de la New York Times Book Review sélectionne une dizaine de titres notoires publiés au cours de l’année, en fiction et en non fiction. Pour 2022, notre agence représente plusieurs des titres figurant dans la liste des 10 Best Books of 2022. Voici les critiques :
STAY TRUE: A Memoir
by Hua Hsu
Doubleday, September 2022
“In this quietly wrenching memoir, Hsu recalls starting out at Berkeley in the mid-1990s as a watchful music snob, fastidiously curating his tastes and mercilessly judging the tastes of others. Then he met Ken, a Japanese American frat boy. Their friendship was intense, but brief. Less than three years later, Ken would be killed in a carjacking. Hsu traces the course of their relationship — one that seemed improbable at first but eventually became a fixture in his life, a trellis along which both young men could stretch and grow.”
UNDER THE SKIN: The Hidden Toll of Racism on American Lives and on the Health of Our Nation
by Linda Villarosa
Doubleday, June 2022
“Through case histories as well as independent reporting, Villarosa’s remarkable third book elegantly traces the effects of the legacy of slavery — and the doctrine of anti-Blackness that sprang up to philosophically justify it — on Black health: reproductive, environmental, mental and more. Beginning with a long personal history of her awakening to these structural inequalities, the journalist repositions various narratives about race and medicine — the soaring Black maternal mortality rates; the rise of heart disease and hypertension; the oft-repeated dictum that Black people reject psychological therapy — as evidence not of Black inferiority, but of racism in the health care system.”
DEMON COPPERHEAD
by Barbara Kingsolver
Harper, October 2022
N.B. : Les droits de langue française ne sont plus disponibles pour ce titre.
“Kingsolver’s powerful new novel, a close retelling of Charles Dickens’s “David Copperfield” set in contemporary Appalachia, gallops through issues including childhood poverty, opioid addiction and rural dispossession even as its larger focus remains squarely on the question of how an artist’s consciousness is formed. Like Dickens, Kingsolver is unblushingly political and works on a sprawling scale, animating her pages with an abundance of charm and the presence of seemingly every creeping thing that has ever crept upon the earth.”
