Adèle (2014): Leïla Slimani


Having read Leïla Slimani’s Lullaby last year, I was keen to try her new novel, Adèle. Like Lullaby, this takes us beyond the polished facade of a comfortable, upper-middle-class Parisian family and shows us the hypocrisy and unhappiness within. This time our protagonists are Adèle, a journalist, and her husband Richard, a successful surgeon. They have a son, Lucien, and spend Christmas holidays with Richard’s wealthy family in the country. It’s a superficially perfect existence; but there are cracks beneath the surface. Adèle, the beautiful, serene, accomplished wife, hides a dark secret: ever since she was a child, she has been a sex addict, compulsively seeking out sensual experiences with as many people as she can, using these moments to anchor herself against the great, vast meaninglessness of the world. Yet Adèle’s time is running out and, when she makes a pass at a colleague of Richard’s, her whole carefully-constructed world is about to collapse.

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Lullaby (2016): Leïla Slimani


Quis custodiet ipsos custodes? Leïla Slimani’s bestselling novel evidently strikes a chord with its readers and it isn’t hard to see why. It plays on the deepest fears that any parent can have. What if our children are most at risk from those we’ve hired to care for them? On the very first page, we’re shown a horrific scene: two children brutally murdered, their nanny lying with self-inflicted wounds beside them. It’s a shocking, apparently senseless crime. But then Slimani takes us back, to tell the story of the family, the nanny and the children. Her novel raises uncomfortable but necessary questions about domestic service, modern parenting, class, and the desire to be needed.

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