Lara Feigel – författare

'An absorbing and heart-breaking study, opening a window into the past and urgently contemporary at the same time' TESSA HADLEY We think that our children belong to us, but families are fragile things. Every day, for over a century, children have been moved between homes because of law cases that decide their fates. Yet child custody is curiously absent from history books and from how we generally understand our world. Lara Feigel’s groundbreaking book shows the fraught, complex territory of child custody to have been one of the vital battlegrounds of modern history and culture.Custody is the story of seven women – Caroline Norton, George Sand, Elizabeth Packard, Frieda Lawrence, Edna O’Brien, Alice Walker, Britney Spears – who have fought for their children and been found wanting. It is also the story of the children who have lost the care they most need because divorce is at heart a macabre continuation of matrimony in a new setting, with the battles of the marriage stoked into new levels of acrimony by the courts.It’s a book of dramatic storytelling, and of blistering polemic and large-scale historical re-evaluation. Each chapter immerses the reader in the life and times – and struggles – of these fascinating, charismatic, complex women and their children. All of these women were mothers, but all of them wanted and needed to be other things too – writers, lovers, or activists – and they and their children were punished for these attempts.Feigel has been deep in the archives, looking into thousands of other cases in each place and time, and she’s been sitting in on the family courts in the present. So alongside these central figures, the book presents a teeming picture of fractured family life in Britain, Europe and North America across two hundred years, offering a major new interpretation of how our modern culture has evolved. And Custody is an alternative history of feminism, centring on the fraught relationship between emancipation and care.This book is of urgent interest to anyone concerned with women’s roles in the world and how institutions fail them. Ultimately it’s a book that sees custody as the nexus where motherhood, ideology and power meet. Custody cases can seem in these chapters to be quintessentially tragic, but the stories of these passionate, conflicted women also make us want to figure out how to do things better.

'A GREAT ROAR OF A BOOK' Sunday Times We think that our children belong to us, but families are fragile things. Every day, for over a century, children have been moved between homes because of law cases that decide their fates. Yet child custody is curiously absent from history books and from how we generally understand our world. Lara Feigel’s groundbreaking book shows the fraught, complex territory of child custody to have been one of the vital battlegrounds of modern history and culture.Custody is the story of seven women – Caroline Norton, George Sand, Elizabeth Packard, Frieda Lawrence, Edna O’Brien, Alice Walker, Britney Spears – who have fought for their children and been found wanting. It is also the story of the children who have lost the care they most need because divorce is at heart a macabre continuation of matrimony in a new setting, with the battles of the marriage stoked into new levels of acrimony by the courts.It’s a book of dramatic storytelling, and of blistering polemic and large-scale historical re-evaluation. Each chapter immerses the reader in the life and times – and struggles – of these fascinating, charismatic, complex women and their children. All of these women were mothers, but all of them wanted and needed to be other things too – writers, lovers, or activists – and they and their children were punished for these attempts.Feigel has been deep in the archives, looking into thousands of other cases in each place and time, and she’s been sitting in on the family courts in the present. So alongside these central figures, the book presents a teeming picture of fractured family life in Britain, Europe and North America across two hundred years, offering a major new interpretation of how our modern culture has evolved. And Custody is an alternative history of feminism, centring on the fraught relationship between emancipation and care.This book is of urgent interest to anyone concerned with women’s roles in the world and how institutions fail them. Ultimately it’s a book that sees custody as the nexus where motherhood, ideology and power meet. Custody cases can seem in these chapters to be quintessentially tragic, but the stories of these passionate, conflicted women also make us want to figure out how to do things better.

War affects life writing and lives affect war writing. The traditional forms of life writing – memoir, biography, letters, diaries – buckle under the strain of war. War writing has fewer traditional forms but exists at a similar extreme. The eight chapters in this book, written by leading and up-and-coming scholars in the field, illuminate the creative innovations, improvisations, and implosions which happen when the demands of writing war and writing lives collide. Central to all is the question of authenticity: how can wars and lives be known and who can speak of them with authority? This volume has a generous chronological and generic range, beginning in the early 1800s and stretching to twenty-first-century texts, and covering letters, diaries, fiction, ‘fakeries’, poetry, biography, testimony, songs, objects, and digital media. The mix of authors is similarly varied: Thomas Hardy, W. H. Auden and Elizabeth Bowen rub shoulders with Yousif M. Qasmiyeh (a contemporary Palestinian poet), Farah Baker (a Gazan teenager) and the writers behind the pen names Araki Yasusada and Jiri Kajanë. This book was originally published as a special issue of Textual Practice.

War affects life writing and lives affect war writing. The traditional forms of life writing – memoir, biography, letters, diaries – buckle under the strain of war. War writing has fewer traditional forms but exists at a similar extreme. The eight chapters in this book, written by leading and up-and-coming scholars in the field, illuminate the creative innovations, improvisations, and implosions which happen when the demands of writing war and writing lives collide. Central to all is the question of authenticity: how can wars and lives be known and who can speak of them with authority? This volume has a generous chronological and generic range, beginning in the early 1800s and stretching to twenty-first-century texts, and covering letters, diaries, fiction, ‘fakeries’, poetry, biography, testimony, songs, objects, and digital media. The mix of authors is similarly varied: Thomas Hardy, W. H. Auden and Elizabeth Bowen rub shoulders with Yousif M. Qasmiyeh (a contemporary Palestinian poet), Farah Baker (a Gazan teenager) and the writers behind the pen names Araki Yasusada and Jiri Kajanë. This book was originally published as a special issue of Textual Practice.

When the first bombs fell on London in August 1940, the city was transformed overnight into a battlefront. For most Londoners, the sirens, guns, planes and bombs heralded gruelling nights of sleeplessness, fear and loss. But for Graham Greene and some of his contemporaries, this was a bizarrely euphoric time when London became the setting for intense love affairs and surreal beauty. At the height of the Blitz, Greene described the bomb-bursts as holding one 'like a love-charm'. As the sky whistled and the ground shook, nerves were tested, loyalties examined and infidelities begun.The Love-charm of Bombs is a powerful wartime chronicle told through the eyes of five prominent writers: Elizabeth Bowen, Graham Greene, Rose Macaulay, Hilde Spiel and Henry Yorke (writing as Henry Green). Volunteering as ambulance drivers, fire-fighters and ARP wardens, these were the successors to the soldier poets of the First World War and their story has never been told. Now, opening with a meticulous evocation of a single night in September 1940, Lara Feigel brilliantly and beautifully interweaves letters, diaries and fiction with official civil defence records to chart the history of a burning world in wartime London and post-war Vienna and Berlin. She reveals the haunting, ecstatic, often wrenching stories that triumphed amid the mess of a war-torn world.

Shortlisted for the HWA Non-Fiction Crown 2017As the Second World War neared its conclusion, Germany was a nation reduced to rubble: 3.6 million German homes had been destroyed leaving 7.5 million people homeless; an apocalyptic landscape of flattened cities and desolate wastelands.In May 1945 Germany surrendered, and Britain, America, Soviet Russia and France set about rebuilding their zones of occupation. Most urgent for the Allies in this divided, defeated country were food, water and sanitation, but from the start they were anxious to provide for the minds as well as the physical needs of the German people. Reconstruction was to be cultural as well as practical: denazification and re-education would be key to future peace and the arts crucial in modelling alternative, less militaristic, ways of life. Germany was to be reborn; its citizens as well as its cities were to be reconstructed; the mindset of the Third Reich was to be obliterated.When, later that year, twenty-two senior Nazis were put in the dock at Nuremberg, writers and artists including Rebecca West, Evelyn Waugh, John Dos Passos and Laura Knight were there to tell the world about a trial intended to ensure that tyrannous dictators could never again enslave the people of Europe. And over the next four years, many of the foremost writers and filmmakers of their generation were dispatched by Britain and America to help rebuild the country their governments had spent years bombing. Among them, Ernest Hemingway, Martha Gellhorn, Marlene Dietrich, George Orwell, Lee Miller, W.H. Auden, Stephen Spender, Billy Wilder and Humphrey Jennings. The Bitter Taste of Victory traces the experiences of these figures and through their individual stories offers an entirely fresh view of post-war Europe. Never before told, this is a brilliant, important and utterly mesmerising history of cultural transformation.

‘Her intensity and intimacy are engaging’ Blake Morrison, Guardian‘A lovely, urgent, serious book' Tessa Hadley‘Refreshing and unexpected’ Daisy Hay, Financial TimesBrilliantly interweaving literary criticism, biography and memoir, Look! We Have Come Through! is a captivating exhumation of an author and a compelling manifesto for exposing ourselves to difficult and dangerous views.Lara Feigel listens to birds outside her window – their circling, strident calls – and thinks of D. H. Lawrence. It is the spring of 2020 and, as the pandemic takes hold, she locks down in rural Oxfordshire with her partner, her two children, and that most explosive of writers.Proceeding month by month through the year, she sets out to start again with Lawrence: to find vital literary companionship; to use him as a guide to rural living and even, unexpectedly, to child-rearing; to find a way through his writing to excavate the modern world she feels he helped bring into being. Tracing the arc of Lawrence’s life and delving deep into his writings, she confronts his anger, his passion, his tumultuous vitality. In the process, she faces some of today’s most urgent dilemmas, from secular religion to the climate crisis, from sex and sexuality to feminism’s ideas about motherhood. And, as she watches the seasons change alongside Lawrence, Feigel finds the rhythms of her own life shifting in unexpected ways.

‘A fascinating mix of literary criticism, cultural history and memoir … Highly enjoyable’ Sunday TimesHow might we live more freely, and will we be happier or lonelier if we do? Rereading The Golden Notebook in her thirties, Lara Feigel discovered that Doris Lessing spoke directly to her as a woman, writer and mother in a way that no other novelist had done. Veering between admiration and fury at the choices Lessing made, Feigel conducts a dazzling investigation into the joys and costs of sexual, psychological, intellectual and political freedom. The result is this genre-defying book: at once a meditation on life and literature and a daring act of self-exposure.

'A very funny and brilliant book. Feigel does a thorough and virtuosic job of describing the dilemmas of contemporary middle-class women' Rachel CuskLara Feigel's first novel, The Group, is a fiercely intelligent, revealing novel about a group of female friends turning forty. Who has children and who doesn't? Whose marriages are working, whose aren't, and who has embarked on completely different models of sexuality and relationships? Who has managed to fulfil their promise, whose life has foundered and what do they think about it, either way? The Group is an engrossing portrait of contemporary female life and friendship, and a thrillingly intimate and acute take on female character in an age that may or may not have been changed by feminism in its different strands.

'A very funny and brilliant book. Feigel does a thorough and virtuosic job of describing the dilemmas of contemporary middle-class women' Rachel CuskThe five of them - Stella, Priss, Kay, Helena and Polly - met at university, their lives full of lazy afternoons and late nights. Friendship seemed simple and there was such pleasure in the endless talk and in just living alongside each other.Now the women are turning forty and they're finding that a shared past can sometimes be a burden. They're all struggling to navigate the ways in which their lives have differed from the plans they made themselves and the hopes they had for each other. In the past, solidarity came easily, but now they compare lovers, husbands, jobs, children and sofas, asking how the choices they've made or failed to make hold up. As marriages end and secrets emerge, they wonder whether these people, the ones who know so much about them, are really the ones they can confide in.