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This narrative charts Annie Ernaux's teenage awakening and then the parallel progression of her desire to be desirable and her ambition to fulfill herself in her chosen profession - with the inevitable conflict between the two. And then she is 30 years old, a teacher married to an executive, a mother of two infant sons.

"Depuis des années, je tourne autour de cet événement de ma vie. Lire dans un roman le récit d'un avortement me plonge dans un saisissement sans images ni pensées, comme si les mots se changeaient instantanément en sensation violente. De la même façon entendre par hasard "La javanaise", "J'ai la mémoire qui flanche", n'importe quelle chanson qui m'a accompagnée durant cette période, me bouleverse."

A través de recuerdos dejados por los acontecimientos, las palabras y las cosas, Annie Ernaux nos hace sentir el paso de los años, desde la posguerra hasta hoy. Al mismo tiempo, inscribe la existencia en una nueva forma de autobiografía, impersonal y colectiva.

In A Girl's Story, Annie Ernaux revisits a night 50 years earlier when she found herself submerged and controlled by another person's desire and willpower. It was the summer of 1958, the year she turned 18, and the man she had given herself to had moved on. She'd submitted her will to his and then found that she was a slave without a master.

Barely educated and valued since childhood strictly for his labor, Ernaux's father had grown into a hard, practical man who showed his family little affection. Narrating his slow ascent towards material comfort, Ernaux's cold observation reveals the shame that haunted her father throughout his life. She scrutinizes the importance he attributed to manners and language that came so unnaturally to him as he struggled to provide for his family with a grocery store and cafe in rural France.

Elle a trente ans, elle est professeur, mariée à un "cadre", mère de deux enfants. Elle habite un appartement agréable. Pourtant, c'est une femme gelée. C'est-à-dire que, comme des milliers d'autres femmes, elle a senti l'élan, la curiosité, toute une force heureuse présente en elle se figer au fil des jours entre les courses, le dîner à préparer, le bain des enfants, son travail d'enseignante. Tout ce que l'on dit être la condition "normale" d'une femme.

Au travers de photos et de souvenirs laissés par les événements, les mots et les choses, Annie Ernaux nous fait ressentir le passage des années, de l'après-guerre à aujourd'hui. En même temps, elle inscrit l'existence dans une forme nouvelle d'autobiographie, impersonnelle et collective. Marina Moncade est la voix sensible et délicate d'Annie Ernaux qui regarde en elle-même pour retrouver le monde, la mémoire et l'imaginaire des jours passés.

Upon her mother’s death from Alzheimer’s, Annie Ernaux embarks on a daunting journey back through time, as she seeks to “capture the real woman, the one who existed independently from me, born on the outskirts of a small Normandy town, and who died in the geriatric ward of a hospital in the suburbs of Paris.” She explores the bond between mother and daughter, tenuous and unshakable at once, the alienating worlds that separate them, and the inescapable truth that we must lose the ones we love.

In 1963, Annie Ernaux, 23 and unattached, realizes she is pregnant. Shame arises in her like a plague: Understanding that her pregnancy will mark her and her family as social failures, she knows she cannot keep the child. In a France where abortion was illegal, she attempted, in vain, to self-administer the abortion with a knitting needle. Fearful and desperate, she finally located an abortionist and ended up in a hospital emergency ward where she nearly died. In Happening, Ernaux sifts through her memories and her journal entries dating from those days.

In her spare, stark style, Annie Ernaux documents the desires and indignities of a human heart ensnared in an all-consuming passion. Blurring the line between fact and fiction, an unnamed narrator attempts to plot the emotional and physical course of her two-year relationship with a married foreigner where every word, event, and person either provides a connection with her beloved or is subject to her cold indifference. With courage and exactitude, she seeks the truth behind an existence lived entirely for someone else, and, in the pieces of its aftermath, she is able to find it.

The Years is a personal narrative of the period of 1941 to 2006 told through the lens of memory, impressions past and present - even projections into the future - photos, books, songs, radio, television, and decades of advertising and headlines, contrasted with intimate conflicts and written notes from six decades of diaries. Local dialect, words of the time, slogans, brands, and names for ever-proliferating objects are given a voice here. The voice we recognize as the author's continually dissolves and re-emerges.

In these diaries, it is 1989, and Annie is divorced with two grown sons, living outside of Paris, and nearing fifty. Her lover escapes the city to see her there, and Ernaux seems to survive only in expectation of these encounters, saying “his desire for me is the only thing I can be sure of.” She cannot write; she trudges distractedly through her various other commitments in the world; she awaits his next call; she lives only to feel desire and for the next rendezvous. When he is gone and the desire has faded, she feels that she is a step closer to death.

"J'ai voulu l'oublier cette fille. L'oublier vraiment, c'est-à-dire ne plus avoir envie d'écrire sur elle. Ne plus penser que je dois écrire sur elle, son désir, sa folie, son idiotie et son orgueil, sa faim et son sang tari. Je n'y suis jamais parvenue." Dans "Mémoire de fille", Annie Ernaux replonge dans l'été 1958, celui de sa première nuit avec un homme, à la colonie de S dans l'Orne. Nuit dont l'onde de choc s'est propagée violemment dans son corps et sur son existence durant deux années.

"Enfant, quand je m'efforçais de m'exprimer dans un langage châtié, j'avais l'impression de me jeter dans le vide. Une de mes frayeurs imaginaires, avoir un père instituteur qui m'aurait obligée à bien parler sans arrêt en détachant les mots. On parlait avec toute la bouche. Puisque la maîtresse me "reprenait", plus tard j'ai voulu reprendre mon père, lui annoncer que "se parterrer" ou "quart moins d'onze heures" n'existaient pas.

My father tried to kill my mother one Sunday in June, in the early afternoon, begins Shame, the probing story of the 12-year-old girl who will become the author herself and the single traumatic memory that will echo and resonate throughout her life. With the emotionally rich voice of great fiction and the diamond-sharp analytical eye of a scientist, Annie Ernaux provides a powerful reflection on experience and the power of violent memory to endure through time, to determine the course of a life.

Love and death cohabit in The Use of Photography, with alternating chapters by the two authors. First published in France in 2005, the book recounts a passionate love affair between Ernaux and the journalist and author Marc Marie, after the two met in January 2003. Ernaux had been receiving intensive chemo for breast cancer during the prior three months and had lost all her hair from the treatments. At the end of January, she had surgery, followed by radiation therapy.

This extraordinary evocation of a grown daughter’s attachment to her mother - and of both women’s strength and resiliency - recounts Annie’s attempt to first help her mother recover from Alzheimer’s disease and, then, when that proves futile, bear witness to the older woman’s gradual decline and her own experience as a daughter losing a beloved parent. I Remain in Darkness is a new high-water mark for Ernaux, surging with raw emotional power and her sublime ability to use language to apprehend her own life’s particular music.

Tiene treinta años, es profesora, casada con un ejecutivo, madre de dos niños. Vive en una casa confortable. Sin embargo, es una mujer helada. Igual que miles de mujeres ha sentido cómo su curiosidad, su impulso vital se iban anquilosando a fuerza de un trabajo que compaginar con compras que hacer, cenas que cocinar, baños de niños que preparar… Todo eso que se entiende por la condición normal de mujer.

In Exteriors, Annie Ernaux concentrates not on the essential details of a relationship with a family member or lover as before but on ephemeral encounters within the larger circle of one's environment and the hundreds of strangers who inhabit it. Here, she captures the feeling of contemporary living on the outskirts of a great city: tortured, chaotic, lyrical, and powerfully alive. Exteriors is, in many ways, the most ecstatic of Ernaux's books.

For half a century, the French writer Annie Ernaux has transgressed the boundaries of what stories are considered worth telling, what subjects worth exploring. In this probing meditation, Ernaux turns her attention to the phenomenon of the big-box superstore, a ubiquitous feature of modern life that has received scant attention in literature. Recording her visits to a store near Paris for over a year, she captures the world that exists within its massive walls.