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Nas Tuas Mãos
An internationally acclaimed, award-winning novel spanning three generations of women united in their struggle for independence and fulfillment against oppression.
Told from three different perspectives, this sweeping saga begins in 1935 Portugal, in the grip of Salazar's authoritarian regime, where upper-class Jenny enters into an uncommon marriage with the beguiling Ant�nio. Keeping up appearances, they host salons for the political and cultural elite. In private, Jenny, Ant�nio, and his lover, Pedro, share a guarded triangle, build a profound relationship, and together raise a daughter born under the auspices of rebellion.
Thirty years later, their daughter, Camila, a photojournalist who has captured the revolutionary fervor and tragic loss of her family--and country--reminisces about a long-lost love in Southeast Africa. This memory shapes the future of her daughter, Nat�lia, a successful architect, who begins an impassioned quest of her own. As she navigates Portugal's complex past, Nat�lia will discover herself in the two women whose mysteries and intimate intrigues have come to define her.
Through revealing journals, snapshots of a turbulent era, and private letters, the lives of three generations of women unfold, embracing all that has separated them and all that binds them--their strength, their secrets, and their search for love through the currents of change.
Told from three different perspectives, this sweeping saga begins in 1935 Portugal, in the grip of Salazar's authoritarian regime, where upper-class Jenny enters into an uncommon marriage with the beguiling Ant�nio. Keeping up appearances, they host salons for the political and cultural elite. In private, Jenny, Ant�nio, and his lover, Pedro, share a guarded triangle, build a profound relationship, and together raise a daughter born under the auspices of rebellion.
Thirty years later, their daughter, Camila, a photojournalist who has captured the revolutionary fervor and tragic loss of her family--and country--reminisces about a long-lost love in Southeast Africa. This memory shapes the future of her daughter, Nat�lia, a successful architect, who begins an impassioned quest of her own. As she navigates Portugal's complex past, Nat�lia will discover herself in the two women whose mysteries and intimate intrigues have come to define her.
Through revealing journals, snapshots of a turbulent era, and private letters, the lives of three generations of women unfold, embracing all that has separated them and all that binds them--their strength, their secrets, and their search for love through the currents of change.
232 pages, Paperback
First published January 1, 1997
109 people are currently reading
1262 people want to read
About the author
Inês Pedrosa
58 books141 followersBorn in 1962, Inês Pedrosa earned a degree in communication sciences from the Universidade Nova de Lisboa before working in the press, on radio, and on television, earning several journalism awards and serving as director of the Casa Fernando Pessoa publishing house from 2008 to 2014.
Previously, she was a columnist for the Portuguese national newspaper Expresso, for which her column was awarded the 2007 Prize for Parity for Citizenship and Gender Equality, and she is currently a columnist for Lisbon's weekly newspaper, Sol. Pedrosa has published eighteen books, including the prize-winning novels In Your Hands (winner of the 1997 Prémio Máxima de Literatura in Portugal), Eternity and Desire (finalist for the 2009 Portugal Telecom Award and the 2010 Prémio Correntes d'Escritas), and The Intimates (winner of the 2011 Prémio Máxima de Literatura). Her work has been published in Brazil, Spain, Italy, and Germany. In Your Hands is her English-language debut.
Previously, she was a columnist for the Portuguese national newspaper Expresso, for which her column was awarded the 2007 Prize for Parity for Citizenship and Gender Equality, and she is currently a columnist for Lisbon's weekly newspaper, Sol. Pedrosa has published eighteen books, including the prize-winning novels In Your Hands (winner of the 1997 Prémio Máxima de Literatura in Portugal), Eternity and Desire (finalist for the 2009 Portugal Telecom Award and the 2010 Prémio Correntes d'Escritas), and The Intimates (winner of the 2011 Prémio Máxima de Literatura). Her work has been published in Brazil, Spain, Italy, and Germany. In Your Hands is her English-language debut.
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Displaying 1 - 30 of 68 reviews
November 3, 2018
This was a fine book, first published in 1997 and recently republished, this book was filled with philosophy and history centred in Lisbon commencing in 1935 and progressing into the 90’s, the first story begins during the Salazar regime a time of oppression and conformity. The book incorporates important themes of family, race, sexuality and gender identity while giving an insight into the complicated Portuguese political history. Three separate but linked stories of three generation of women, all three women coming up against society’s expectations and fighting against societal norms, each rebelling in their own individual ways. Jenny fighting to keep up appearances in an ultra conservative era, working hard to protect and keep hidden her unconventional marriage, Camila raising her biracial daughter as a single mother and also a product of her unusual upbringing and Natalia, trying to navigate a world that tries to judge her by her gender and her skin colour. Each of these women struggle but ultimately triumph, as all the women grow strong even against all the challenges, and the love that links and unites them through their shared adversities, their family secrets and strong willed female characteristics. Not all sections of the book worked, I grew tired of Natalia’s story being partly written through letters to Jenny, but the feminist in me loved this book.
Thanks to NetGalley & AmazonCrossing for my review copy.
Thanks to NetGalley & AmazonCrossing for my review copy.
July 22, 2017
Este é o primeiro romance que leio de Inês Pedrosa... E já estou encantada com o modo envolvente como ele escreve. Faz-nos sentir na pele dos personagens. Como se de algo modo estivéssemos a viver naquele tempo.
O romance constitui-se de três narrativas de mulheres distintas. Jenny, a avó; Camila, a mãe; e Natália, a filha. A mais emotiva é os diários de Jenny. Pois a sua história é o centro de toda a drama. Mas a que mais se aproxima dos nossos dias é a narração de Natália. Ela faz parte da geração independente, sem paradigmas e que não suporta ser contrariada.
" Nas tuas mãos" é um leitura que nos vicia. Não de um modo negativo. Um vício bom. Que só os bons livros são capazes de nos dar. Com certeza lerei mais livros desta autora pouco conhecida.
O romance constitui-se de três narrativas de mulheres distintas. Jenny, a avó; Camila, a mãe; e Natália, a filha. A mais emotiva é os diários de Jenny. Pois a sua história é o centro de toda a drama. Mas a que mais se aproxima dos nossos dias é a narração de Natália. Ela faz parte da geração independente, sem paradigmas e que não suporta ser contrariada.
" Nas tuas mãos" é um leitura que nos vicia. Não de um modo negativo. Um vício bom. Que só os bons livros são capazes de nos dar. Com certeza lerei mais livros desta autora pouco conhecida.
November 21, 2019
Puh für mich war dieses dreigeteilte Werk, das eine Generationengeschichte von der Großmutter über die Mutter bis zur Enkelin darstellt, ordentlich durchwachsen, eine Achterbahnfahrt, wobei die gähnenden Täler bei weitem überwiegten und ich auch von meinem persönlichen Standpunkt her anmerken möchte, dass die Großmutter Jenny und auch die Enkelin Natalia derart farblose, vergeistigte, permanent grübelnde und labernde Protagonistinnen sind, deren Leben einfach zu langweilig ist, als dass es in einem Roman festgehalten werden sollte. Lediglich die Tochter Camilla ist eine Figur, die endlich mal etwas tut, und lebt, das es Wert ist, in einem Buch mit Spannung verfolgt zu werden.
Das einzige, was an Großmutter Jennys Leben irgendwie beschreibenswert ist, ist die furchtbare Beziehung, die sie zu Beginn ihrer Adoleszenz als Alibifrau eines schwulen Paares eingeht, die sich sogar noch die Schlafzimmerakrobatik aus dem Nebenzimmer geben muss. Selbst als verheiratete Greisin noch immer undefloriert, leidet sie aber angeblich nicht unter der Situation. Ich glaube aber, sie zieht ihre Lust aus dem Schmerz und dem Leiden und der selbstgewählten lebenslangen Keuschheit. Abgesehen vom kuriosen Dreiecksverhältnis in ihrer Ehe und ihrer selbstgewähkten Keuschheit ist Jenny die typische reiche Tussi: finanziell recht gut ausgestattet und abgesichert und aus dieser Ausgangsposititon her einfach nutzlos, substanzlos ständig grübelnd, unfähig zu handeln und sterbenslangweilig. So, das war es nun tatsächlich bereits im ersten Absatz, was auf 135 Seiten ewig redundant und lähmend ausgewalzt wird, abgesehen natürlich vom Umstand, wie sie als Jungfrau zu ihrem Kind, einer angenommenen Adoptivtochter, gekommen ist.
Die tragische Geschichte von Jennys Tochter Camilla ist dagegen weitaus spannender. Das Gefängnis und die Folter durch einen Schulkameraden, der Unfalltod ihrer großen Liebe, der Krieg in Mocambique, den sie als Fotoreporterin miterlebt, das schwarze Kind, das sie von dort mitbringt, als sie sich ausgerechnet auch noch von einem Schwarzen schwängern lässt, die kommunistische Auflehnung gegen das Salazar Regime, der Verrat ihrer besten Freundin ...all das zeichnet sehr gut ein Schicksal einer Macherin in den Wirren ihrer Zeit.
Es ist aber nicht so, dass Camilla ausschließlich nur Taten vollbringt, mit ihrer Lebenserfahrung und ihrem revolutionären Geist reflektiert sie sehr klug, wie die kommunistischen Frauen mit den Lügen der Gleichberechtigung abgespeist werden. Denn wenn es um patriachalische und sexistische Muster geht, sollten sich die Frauen dann als Untermenschen doch den braven roten Kriegern unterordnen und ihnen zur Verfügung stehen, dagegen kämpft sie nicht nur mit Worten, sondern vor allem mit Taten. Auch der Konflikt mit der neuen Generation von Frauen - respektive ihrer Tochter - die den Kampf ihrer Mütter um Gleichberechtigung einfach nicht zu schätzen wissen, weil sie die erstrittenen und erkämpften Freiräume der Teilhabe als selbstverständlich und von den Männern eh freiwillig eingeräumt sehen, wird hier grandios in den Plot eingewebt.
"Natalia meint schlicht und ergreifend, dass ich keinen Sinn für Humor habe: "Er war wahrscheinlich bei deinem Kampf um Emanzipation der Frau verboten. Ihr habt da schön was angerichtet, als ihr mit Kindern auf dem Schoß die BH's verbrannt habt. Ihr habt eine Jungfrau Maria geschaffen, die noch schulmäßiger war als die alte, der vor Männern grauste und deren Ernsthaftigkeit Tote zum Gähnen brachte. Ihr habt uns noch mehr Arbeit gemacht und habt unsere Beute verjagt" [...] Es tut mir weh, dass sie nicht einmal begreift, daß sie diesem "Extremismus schriller Frauen", wie sie es sagt, all die Rechte verdankt, die heutzutage so selbstverständlich erscheinen.[...] Eine Freundin von ihr hat vor ein paar Tagen gesagt: "Feministin sein hat eine historische Konnotation, die uninteressant ist, sogar ein wenig kontraproduktiv sein kann.""
Diese Auseinandersetzung der Probleme von mehreren Generationen Frauen fand ich grandios, zumal auch genau heutzutage wieder der Backslash stattfindet und Frauen, die auf ihre erkämpften Rechte um Teilhabe pochen, als humorlose Feministenschlampen beschimpft werden. (Ist mir übrigens auf Facebook auch erst vor 3 Wochen ansatzlos passiert, weil ich in einem Kommentar zu einem völlig unproblematischen also unfeministischen Thema ein bisschen kreativ gegendert habe und statt man - frau verwendet habe. Ein junger mir völlig unbekannter ahnungsloser Stenz erklärte mir darob, dass man und Mann nichts miteinander zu tun hätten und ich besser Rechtschreibung hätte lernen sollte. Als ich ihm sachlich erklärte, dass ich in Orthografie sogar recht gut bewandert bin, der Begriff man durchaus im Ursprung das generische Maskulinum für Mensch darstellt und ich nun also mal ganz kreativ das generische Femininum frau in meinem Kommentar eingeführt hätte, beschimpfte er mich ansatzlos als diese humorlose Feministenschlampe.)
Leider übernimmt dieses widerliche sexistische Narrativ der humorlosen Feministenschlampe, das man offensichtlich mittlerweile als Mann sogar auch weitaus gebildeteren sich in wesentlich höherer Stellung befindlichen älteren Frauen (z.B. als Student einer Professorin bzw. Lektorin), die sich einfach in einem Sachgebiet besser auskennen, seit ein paar Jahren ungestraft entgegenschleudern darf, soviel Raum, dass es mittlerweile auch die jüngere Generation der Frauen internalisiert hat und aus Angst, vor allem online als humorlos gebrandmarkt und öffentlich beschimpft zu werden, dieses übernommen und auf die älteren Frauen und Feministinnen übertragen hat. So gibt es seit ein paar Jahren diesen sich an die Männer anbiedernden angeblich so humorvollen witzigen Kuschelfeminismus, der eigentlich total antifeministisch daherkommt und nur auf Gefallen und Wohlwollen der Männer (wie oben so treffend beschrieben der Beute) zielt. Das hatten wir ja schon: Welcome Back to the 80's (wie sie im Buch beschrieben wurden) nicht nur in der Mode. Das Thema ist tatsächlich traurigerweise wieder topaktuell und das im Jahr 2020. Es ist so traurig.
Die bereits erwähnte Enkelin Natalia eifert hingegen wieder ihrer Großmutter nach und lebt auch fast überhaupt nicht. Sie verführt aus jugendlichem Trotz und Gemeinheit die neue Liebe ihrer Mutter Alvaro, denn sie meint, er wäre zu jung für Camilla. Diese nicht gerade feine Tat erweist sich aber als Bumerang, denn Natalia verliebt sich dann tatsächlich in ihn, kann ihn aber nie wirklich besitzen, denn sie passen erstens nicht zusammen und Alvaro nimmt die junge Frau zu wenig ernst. Im Folgenden trauert sie wie ihre Großmutter Jenny, sich das ganze Leben trotz einer Ehe mit einem anderen Mann nach der Liebe und Anerkennung von Alvaro verzehrend und lametierend, dieser vergeudeten Chance nach. Was für ein verschwendetes Leben, das diese Frau absolviert, obwohl sie alle Chancen hat. Erst als Natalia sich aufrafft und sich auf den Spuren ihres leiblichen Vaters nach Mocambique begibt, erlebt sie endlich einmal etwas Spannendes.
Die Kernidee, drei Generationen von Frauen, ihre Beziehungen, ihre Probleme miteinander und ihr Leben aufzuzeichnen, fand ich sehr gut. Durch die zwei vergeistigten Protagonoistinnen Jenny und Natalie gab es aber viel zu wenig Auseinandersetzung mit diesem Kernthema. Lediglich Camilla fungiert als aktive Klammer, die diese Generationen überhaupt zusammenhält.
Was mich sprachlich auch noch massiv gestört hat, war der Umstand, dass eine deutschsprachige Originalausgabe von 2002 bei Randomhouse, sich nicht an die neue, korrekte Rechtschreibung hält. Was hat denn da den Verlag gebissen, wenn sich nicht mal gedruckte Literatur in Büchern renommierter Verlage, ihre eigene korrekte Sprache verwendet. Vor allem bei den ss-ß Fehlern (denn die alte Rechtschreibung ist nun mal seit einiger Zeit der Übergangsphase tatsächlich ein Fehler bei Neuerscheinungen) reißt es mich in jedem 2. Satz. Ok ich bin diesbezüglich ein Monk!😂
Fazit: 2,5 Sterne diesmal aufgerundet auf 3 weil ich die Generationenidee vom Ansatz her innovativ fand. Abseits des Gesamtkonzepts fand ich eben nur die 70 Seiten in der Mitte des Buches wirklich interessant. Alles andere war a bissi langweilig und mühsam.
Das einzige, was an Großmutter Jennys Leben irgendwie beschreibenswert ist, ist die furchtbare Beziehung, die sie zu Beginn ihrer Adoleszenz als Alibifrau eines schwulen Paares eingeht, die sich sogar noch die Schlafzimmerakrobatik aus dem Nebenzimmer geben muss. Selbst als verheiratete Greisin noch immer undefloriert, leidet sie aber angeblich nicht unter der Situation. Ich glaube aber, sie zieht ihre Lust aus dem Schmerz und dem Leiden und der selbstgewählten lebenslangen Keuschheit. Abgesehen vom kuriosen Dreiecksverhältnis in ihrer Ehe und ihrer selbstgewähkten Keuschheit ist Jenny die typische reiche Tussi: finanziell recht gut ausgestattet und abgesichert und aus dieser Ausgangsposititon her einfach nutzlos, substanzlos ständig grübelnd, unfähig zu handeln und sterbenslangweilig. So, das war es nun tatsächlich bereits im ersten Absatz, was auf 135 Seiten ewig redundant und lähmend ausgewalzt wird, abgesehen natürlich vom Umstand, wie sie als Jungfrau zu ihrem Kind, einer angenommenen Adoptivtochter, gekommen ist.
Die tragische Geschichte von Jennys Tochter Camilla ist dagegen weitaus spannender. Das Gefängnis und die Folter durch einen Schulkameraden, der Unfalltod ihrer großen Liebe, der Krieg in Mocambique, den sie als Fotoreporterin miterlebt, das schwarze Kind, das sie von dort mitbringt, als sie sich ausgerechnet auch noch von einem Schwarzen schwängern lässt, die kommunistische Auflehnung gegen das Salazar Regime, der Verrat ihrer besten Freundin ...all das zeichnet sehr gut ein Schicksal einer Macherin in den Wirren ihrer Zeit.
Es ist aber nicht so, dass Camilla ausschließlich nur Taten vollbringt, mit ihrer Lebenserfahrung und ihrem revolutionären Geist reflektiert sie sehr klug, wie die kommunistischen Frauen mit den Lügen der Gleichberechtigung abgespeist werden. Denn wenn es um patriachalische und sexistische Muster geht, sollten sich die Frauen dann als Untermenschen doch den braven roten Kriegern unterordnen und ihnen zur Verfügung stehen, dagegen kämpft sie nicht nur mit Worten, sondern vor allem mit Taten. Auch der Konflikt mit der neuen Generation von Frauen - respektive ihrer Tochter - die den Kampf ihrer Mütter um Gleichberechtigung einfach nicht zu schätzen wissen, weil sie die erstrittenen und erkämpften Freiräume der Teilhabe als selbstverständlich und von den Männern eh freiwillig eingeräumt sehen, wird hier grandios in den Plot eingewebt.
"Natalia meint schlicht und ergreifend, dass ich keinen Sinn für Humor habe: "Er war wahrscheinlich bei deinem Kampf um Emanzipation der Frau verboten. Ihr habt da schön was angerichtet, als ihr mit Kindern auf dem Schoß die BH's verbrannt habt. Ihr habt eine Jungfrau Maria geschaffen, die noch schulmäßiger war als die alte, der vor Männern grauste und deren Ernsthaftigkeit Tote zum Gähnen brachte. Ihr habt uns noch mehr Arbeit gemacht und habt unsere Beute verjagt" [...] Es tut mir weh, dass sie nicht einmal begreift, daß sie diesem "Extremismus schriller Frauen", wie sie es sagt, all die Rechte verdankt, die heutzutage so selbstverständlich erscheinen.[...] Eine Freundin von ihr hat vor ein paar Tagen gesagt: "Feministin sein hat eine historische Konnotation, die uninteressant ist, sogar ein wenig kontraproduktiv sein kann.""
Diese Auseinandersetzung der Probleme von mehreren Generationen Frauen fand ich grandios, zumal auch genau heutzutage wieder der Backslash stattfindet und Frauen, die auf ihre erkämpften Rechte um Teilhabe pochen, als humorlose Feministenschlampen beschimpft werden. (Ist mir übrigens auf Facebook auch erst vor 3 Wochen ansatzlos passiert, weil ich in einem Kommentar zu einem völlig unproblematischen also unfeministischen Thema ein bisschen kreativ gegendert habe und statt man - frau verwendet habe. Ein junger mir völlig unbekannter ahnungsloser Stenz erklärte mir darob, dass man und Mann nichts miteinander zu tun hätten und ich besser Rechtschreibung hätte lernen sollte. Als ich ihm sachlich erklärte, dass ich in Orthografie sogar recht gut bewandert bin, der Begriff man durchaus im Ursprung das generische Maskulinum für Mensch darstellt und ich nun also mal ganz kreativ das generische Femininum frau in meinem Kommentar eingeführt hätte, beschimpfte er mich ansatzlos als diese humorlose Feministenschlampe.)
Leider übernimmt dieses widerliche sexistische Narrativ der humorlosen Feministenschlampe, das man offensichtlich mittlerweile als Mann sogar auch weitaus gebildeteren sich in wesentlich höherer Stellung befindlichen älteren Frauen (z.B. als Student einer Professorin bzw. Lektorin), die sich einfach in einem Sachgebiet besser auskennen, seit ein paar Jahren ungestraft entgegenschleudern darf, soviel Raum, dass es mittlerweile auch die jüngere Generation der Frauen internalisiert hat und aus Angst, vor allem online als humorlos gebrandmarkt und öffentlich beschimpft zu werden, dieses übernommen und auf die älteren Frauen und Feministinnen übertragen hat. So gibt es seit ein paar Jahren diesen sich an die Männer anbiedernden angeblich so humorvollen witzigen Kuschelfeminismus, der eigentlich total antifeministisch daherkommt und nur auf Gefallen und Wohlwollen der Männer (wie oben so treffend beschrieben der Beute) zielt. Das hatten wir ja schon: Welcome Back to the 80's (wie sie im Buch beschrieben wurden) nicht nur in der Mode. Das Thema ist tatsächlich traurigerweise wieder topaktuell und das im Jahr 2020. Es ist so traurig.
Die bereits erwähnte Enkelin Natalia eifert hingegen wieder ihrer Großmutter nach und lebt auch fast überhaupt nicht. Sie verführt aus jugendlichem Trotz und Gemeinheit die neue Liebe ihrer Mutter Alvaro, denn sie meint, er wäre zu jung für Camilla. Diese nicht gerade feine Tat erweist sich aber als Bumerang, denn Natalia verliebt sich dann tatsächlich in ihn, kann ihn aber nie wirklich besitzen, denn sie passen erstens nicht zusammen und Alvaro nimmt die junge Frau zu wenig ernst. Im Folgenden trauert sie wie ihre Großmutter Jenny, sich das ganze Leben trotz einer Ehe mit einem anderen Mann nach der Liebe und Anerkennung von Alvaro verzehrend und lametierend, dieser vergeudeten Chance nach. Was für ein verschwendetes Leben, das diese Frau absolviert, obwohl sie alle Chancen hat. Erst als Natalia sich aufrafft und sich auf den Spuren ihres leiblichen Vaters nach Mocambique begibt, erlebt sie endlich einmal etwas Spannendes.
Die Kernidee, drei Generationen von Frauen, ihre Beziehungen, ihre Probleme miteinander und ihr Leben aufzuzeichnen, fand ich sehr gut. Durch die zwei vergeistigten Protagonoistinnen Jenny und Natalie gab es aber viel zu wenig Auseinandersetzung mit diesem Kernthema. Lediglich Camilla fungiert als aktive Klammer, die diese Generationen überhaupt zusammenhält.
Was mich sprachlich auch noch massiv gestört hat, war der Umstand, dass eine deutschsprachige Originalausgabe von 2002 bei Randomhouse, sich nicht an die neue, korrekte Rechtschreibung hält. Was hat denn da den Verlag gebissen, wenn sich nicht mal gedruckte Literatur in Büchern renommierter Verlage, ihre eigene korrekte Sprache verwendet. Vor allem bei den ss-ß Fehlern (denn die alte Rechtschreibung ist nun mal seit einiger Zeit der Übergangsphase tatsächlich ein Fehler bei Neuerscheinungen) reißt es mich in jedem 2. Satz. Ok ich bin diesbezüglich ein Monk!😂
Fazit: 2,5 Sterne diesmal aufgerundet auf 3 weil ich die Generationenidee vom Ansatz her innovativ fand. Abseits des Gesamtkonzepts fand ich eben nur die 70 Seiten in der Mitte des Buches wirklich interessant. Alles andere war a bissi langweilig und mühsam.
August 12, 2018
3.5★
This book is a little Portuguese treasure that has been translated into English for the first time since its original publication in 1997. Two things really stood out for me. 1) The writing is simply beautiful and while I'm happy to give credit to the author for that, I suspect the translator has done a wonderful job too. 2) The structure is quite unique - I've certainly never read anything like it before.
The story belongs to 3 generations of the same Lisbon family, covering the period from the 1930s through to the 1990s. Jenny, Camila and Natalia are all strong, relatable figures who deal with their joys and tragedies in their own ways. Jenny tells her story via her journal, Camila talks us through key photos in her family album and finally Natalia writes letters to her grandmother, up to and beyond the latter's death. While I enjoyed the novelty of this, I thought Jenny's journal was the least successful, as it was sometimes difficult to keep track of who she was writing for (usually her husband Antonio, but occasionally her daughter).
I know very little about Portugal and its modern history, and as this story covers the revolutionary years I had hoped to learn a bit more than I actually did. There were references to it, and even more allusions, but not a lot of detail. I think if the reader knows the basics, they will probably get more out of this than I did. Still I enjoyed it very much for the characters and their ability to reflect on and analyse their own actions and choices.
With thanks to NetGalley and Amazon Crossing for a digital copy to review.
This book is a little Portuguese treasure that has been translated into English for the first time since its original publication in 1997. Two things really stood out for me. 1) The writing is simply beautiful and while I'm happy to give credit to the author for that, I suspect the translator has done a wonderful job too. 2) The structure is quite unique - I've certainly never read anything like it before.
The story belongs to 3 generations of the same Lisbon family, covering the period from the 1930s through to the 1990s. Jenny, Camila and Natalia are all strong, relatable figures who deal with their joys and tragedies in their own ways. Jenny tells her story via her journal, Camila talks us through key photos in her family album and finally Natalia writes letters to her grandmother, up to and beyond the latter's death. While I enjoyed the novelty of this, I thought Jenny's journal was the least successful, as it was sometimes difficult to keep track of who she was writing for (usually her husband Antonio, but occasionally her daughter).
I know very little about Portugal and its modern history, and as this story covers the revolutionary years I had hoped to learn a bit more than I actually did. There were references to it, and even more allusions, but not a lot of detail. I think if the reader knows the basics, they will probably get more out of this than I did. Still I enjoyed it very much for the characters and their ability to reflect on and analyse their own actions and choices.
With thanks to NetGalley and Amazon Crossing for a digital copy to review.
November 6, 2020
The story of three women who know they are strong despite everything that happens.
May 18, 2018
What a surprise to find this little gem that came as the first English-translated work from this particular Portuguese tongue. This novel proudly transcends boundaries & delves deeply into relationships. I was transfixed with the references of “Make Love Not War” and interracial relationships. Memories from 50 years ago were dreamily brought to mind. The novel spans three generations while concurrently blurring lines.
Thank you NetGalley for the opportunity to read this ARC with only the courtesy of an honest review.
Thank you NetGalley for the opportunity to read this ARC with only the courtesy of an honest review.
May 21, 2018
Hoping to be transported into a kaleidoscope of Portuguese history, culture and society, In Your Hands didn’t disappoint. Straddling the years 1935 to 1994, it covers three generations of strong-willed women - each blazing their own path in their time. Starting with Jenny in 1935 - caught in a love triangle that she cannot expose to society, Camilla - a photojournalist during the revolutionary years and Natalia - an architect, whose heritage creates another layer of complexity as she makes her mark on modern Portugal and explores her family’s past. The story is told in the first person by each of the three women - for me this didn’t work as well as potentially varying the voices could have, but it didn’t take too much away from the overall experience. The depth of the writing is impressive, the analogies intriguing and I wonder what it would be like to read the novel in the language it was originally written - Portuguese. There are many wonderfully strung sentences that say so much. Hats off to translator Andrea Rosenberg!
Examples: “The Portuguese soul was made by tile, painted and chipped.”
“Love doesn’t have doors that we can open and shut, or secret passageways to a cellar where we can take a break from it.”
“We are used to treating love affairs like appliances: when they break down, we go to the store to buy a new one identical to the other one. Fix it? It’s not worth it: repairs are expensive, plus it’s hard to know where to get replacement parts.”
About Mozambique - Portugal’s colony for more than four centuries - and its capital: “ Maputo looks like the capital of a possible future that has been shelved, a suspended experience shrouded in the crumbling colors of an unreal past. When you stop to look closer, the romantically surreal cityscape takes on the hellish contours of hyperreality."
If readers want to delve into the "Portuguese soul” from the 1930s to the 1990s, this would be a great book to turn to - a highly recommended read - five stars! Thanks to NetGalley and AmazonCrossing for the early read.
Examples: “The Portuguese soul was made by tile, painted and chipped.”
“Love doesn’t have doors that we can open and shut, or secret passageways to a cellar where we can take a break from it.”
“We are used to treating love affairs like appliances: when they break down, we go to the store to buy a new one identical to the other one. Fix it? It’s not worth it: repairs are expensive, plus it’s hard to know where to get replacement parts.”
About Mozambique - Portugal’s colony for more than four centuries - and its capital: “ Maputo looks like the capital of a possible future that has been shelved, a suspended experience shrouded in the crumbling colors of an unreal past. When you stop to look closer, the romantically surreal cityscape takes on the hellish contours of hyperreality."
If readers want to delve into the "Portuguese soul” from the 1930s to the 1990s, this would be a great book to turn to - a highly recommended read - five stars! Thanks to NetGalley and AmazonCrossing for the early read.
August 2, 2014
Gostei muito deste primeiro livro que li de Inês Pedrosa.
É um livro no feminino, escrito por uma mulher e que põe nas suas três personagens (Jenny, a avó - Camila, a filha - Natália, a neta) toda uma forma feminina de ver o mundo, o amor, e as coisas de uma maneira geral.
Mas não é um livro dirigido especificamente para as mulheres, longe disso, é muito interessante para toda a gente.
Divide-se o livro em três partes distintas mas não estanques, cada uma delas centrada numa das três personagens e narrada sob a forma de um diário (Jenny), de fotos (Camila) e de cartas (Natália).
Claro que a primeira parte é de longe a mais interessante, até porque é das três, Jenny, a mais bem definida e a mais rica de maneira de ser. O seu segredo, revelado ao público muito cedo, é o nó em que entronca todo o relacionamento "familiar" entre as três.
Mas também as muitas vivências amorosas que acompanham o decorrer do tempo da narrativa estão muito bem enquadradas no universo global do livro.
Uma curiosidade particular: vi-me retratado numa das fotos de Camila, aquela em que ela foca o espectáculo de Béjart no Coliseu, e em que estava (felizmente) presente.
É um livro no feminino, escrito por uma mulher e que põe nas suas três personagens (Jenny, a avó - Camila, a filha - Natália, a neta) toda uma forma feminina de ver o mundo, o amor, e as coisas de uma maneira geral.
Mas não é um livro dirigido especificamente para as mulheres, longe disso, é muito interessante para toda a gente.
Divide-se o livro em três partes distintas mas não estanques, cada uma delas centrada numa das três personagens e narrada sob a forma de um diário (Jenny), de fotos (Camila) e de cartas (Natália).
Claro que a primeira parte é de longe a mais interessante, até porque é das três, Jenny, a mais bem definida e a mais rica de maneira de ser. O seu segredo, revelado ao público muito cedo, é o nó em que entronca todo o relacionamento "familiar" entre as três.
Mas também as muitas vivências amorosas que acompanham o decorrer do tempo da narrativa estão muito bem enquadradas no universo global do livro.
Uma curiosidade particular: vi-me retratado numa das fotos de Camila, aquela em que ela foca o espectáculo de Béjart no Coliseu, e em que estava (felizmente) presente.
May 6, 2018
Three women tell their stories of life and love. Jenny's story is first, then her daughter Camilla and last is Natalia, her granddaughter. They are women who live their own lives, unique and determined.
The harsh politics of Portugal is presented as background and this gives the reader an interesting comparison to the romance and energy of the women.
The harsh politics of Portugal is presented as background and this gives the reader an interesting comparison to the romance and energy of the women.
November 23, 2012
Gosto mesmo da forma como a Inês Pedrosa escreve. As palavras escritas por ela trazem aconchego ao meu coração, se querem que seja sincero. É essa a sensação com que fico quando estou a ler um dos seus livros. Por acaso tive toda a sorte do Mundo em ter encontrado esta edição que vinha com um jornal – que não me lembro qual era, sinceramente – mais barata e com a mesma qualidade dos livros vendidos nas livrarias ou supermercados.
Nas Tuas Mãos conta a história de uma geração de mulheres – avó, mãe e filha/neta, respetivamente Jenny, Camila e Natália – que viveram em épocas diferentes e com sentimentos igualmente tão diferentes e tão iguais. Contado sob a forma de diário, por um álbum de fotografias (o texto é como a legenda em tamanho extenso) e de cartas, estas três personagens vão dando a conhecer as suas vivências, os sentimentos, os amores perdidos, as desilusões ou alegrias da vida. A história que mais me cativou foi a da Jenny, casada com um senhor homossexual que mantinha livremente uma relação com o “melhor amigo” Pedro. O que achei mais de fascinante nesta relação foi a aceitação de Jenny, que sempre soube deste amor. A forma como quase ela própria se encontra apaixonada pelos dois, transformando-se no terceiro elemento da relação, deixou-me completamente espantado. Pergunto-me: hoje em dia existem pessoas com esse calibre de pensamento e de sentimentos? Gostava de explorar mais um pouco para saber – apesar de saber que Nas Tuas Mãos se trata de uma simples ficção.
As histórias das outras duas personagens são mas boas mas não tão encantadoras. Camila, com a sua paixão por um moçambicano que acaba por ser morto e pai de Natália, a luta na altura do 25 de abril e depois Natália, mulata e arquiteta, que não sabe bem encarar o amor. Separa-se do marido Nuno e parte pouco depois para Moçambique, à procura de um sentido para a vida. São histórias boas mas não tão fascinantes como a de Jenny.
Para mim, a Inês Pedrosa é uma ótima escritora portuguesa. Dos nossos melhores exemplos. Apesar de ser reconhecida pelo Faz-me Falta, as duas obras que li dela conseguem mostrar-me o seu calibre. Com uma escrita maravilhosa e sem se repetir ao longo das mais de duzentas páginas. Mas são histórias leves, é isso que critico neste livro. Não há assim tanto que mantenha o leitor interessado – a não ser a história de Jenny que é logo a primeira. Depois disso podia muito bem ter fechado o livro. Mas devido ao meu gosto pessoal continuei a ler. Gostava de ver uma obra desenvolvida – com personagens bem descritas, lugares pormenorizados – pela escritora. É apenas uma sugestão.
3/5
Nas Tuas Mãos conta a história de uma geração de mulheres – avó, mãe e filha/neta, respetivamente Jenny, Camila e Natália – que viveram em épocas diferentes e com sentimentos igualmente tão diferentes e tão iguais. Contado sob a forma de diário, por um álbum de fotografias (o texto é como a legenda em tamanho extenso) e de cartas, estas três personagens vão dando a conhecer as suas vivências, os sentimentos, os amores perdidos, as desilusões ou alegrias da vida. A história que mais me cativou foi a da Jenny, casada com um senhor homossexual que mantinha livremente uma relação com o “melhor amigo” Pedro. O que achei mais de fascinante nesta relação foi a aceitação de Jenny, que sempre soube deste amor. A forma como quase ela própria se encontra apaixonada pelos dois, transformando-se no terceiro elemento da relação, deixou-me completamente espantado. Pergunto-me: hoje em dia existem pessoas com esse calibre de pensamento e de sentimentos? Gostava de explorar mais um pouco para saber – apesar de saber que Nas Tuas Mãos se trata de uma simples ficção.
As histórias das outras duas personagens são mas boas mas não tão encantadoras. Camila, com a sua paixão por um moçambicano que acaba por ser morto e pai de Natália, a luta na altura do 25 de abril e depois Natália, mulata e arquiteta, que não sabe bem encarar o amor. Separa-se do marido Nuno e parte pouco depois para Moçambique, à procura de um sentido para a vida. São histórias boas mas não tão fascinantes como a de Jenny.
Para mim, a Inês Pedrosa é uma ótima escritora portuguesa. Dos nossos melhores exemplos. Apesar de ser reconhecida pelo Faz-me Falta, as duas obras que li dela conseguem mostrar-me o seu calibre. Com uma escrita maravilhosa e sem se repetir ao longo das mais de duzentas páginas. Mas são histórias leves, é isso que critico neste livro. Não há assim tanto que mantenha o leitor interessado – a não ser a história de Jenny que é logo a primeira. Depois disso podia muito bem ter fechado o livro. Mas devido ao meu gosto pessoal continuei a ler. Gostava de ver uma obra desenvolvida – com personagens bem descritas, lugares pormenorizados – pela escritora. É apenas uma sugestão.
3/5
July 7, 2019
Ich habe das im Rahmen der "Femininen EU-Challenge" gelesen, als Beitrag für Portugal und ich muss sagen, wow. Ich bin wirklich froh, dass es mir empfohlen wurde, denn sonst hätte ich es sicher nie gelesen.
Inês Predrosa hat einen unglaublich verschlungenen, verschachtelten, mosaikartigen Schreibstil, der sich liest, als ob man ein Puzzle zusammenbastelt. Man bekommt Einzelteile gereicht, legt sie lange Zeit nur verwirrt nebeneinander, bis man plötzlich anfängt sie zusammenzuschieben und ein Muster zu erkennen. Und dann ist man ganz begierig darauf immer neue Puzzleteile zu bekommen, damit man irgendwann das große Ganze zu sehen kriegt.
Es ist die Geschichte dreier Frauen - Jenni, Camila und Natalia, Oma, Ziehtocher und Enkelin - und gleichzeitig auch die Geschichte dreier Generationen in Portugal. Alle drei sind wahnsinnig spannende Charaktere mit einer faszinierenden, elegant miteinander verwobenen Lebensgeschichte, mit Sehnsüchten, Wünschen und Träumen und Liebesbeziehungen. Das Ende lässt einen mit einem Gefühl von bittersüßer Sehnsucht und Befriedigung zurück, aber auch mit dem Wunsch sein eigenes Leben zu packen und besser zu leben, mehr und inniger zu lieben und mutiger zu sein.
Einziger (wirklich kleiner) Kritikpunkt ist, dass ich es sehr verwirrend fand, dass die Anrede "Du" in Jennis Tagebuch bei mehreren Personen gebraucht wird und es dadurch manchmal unmöglich war rauszufinden, ob sie nun Camila meint oder doch Antonio. Ich habe mich gefragt, ob das an der Übersetzung liegt, bzw ob es im portugiesischen sowas wie ein "männliches Du" und ein "weibliches Du" gibt, so dass es da vielleicht leichter zu erkennen ist?
Aber das ist auch wirklich schon alles, was ich zu bemängeln hätte.
Jetzt möchte ich losgehen und mich mit der Geschichte Portugals im 20. Jahrhundert beschäftigen, über die ich traurigerweise fast gar nichts weiß.
Also Fazit - ein wirklich tolles Buch, sehr empfehlenswert. Der Schreibstil ist nicht immer leicht zugänglich, aber wenn man sich einmal darauf einlässt, wird man definitiv belohnt.
Inês Predrosa hat einen unglaublich verschlungenen, verschachtelten, mosaikartigen Schreibstil, der sich liest, als ob man ein Puzzle zusammenbastelt. Man bekommt Einzelteile gereicht, legt sie lange Zeit nur verwirrt nebeneinander, bis man plötzlich anfängt sie zusammenzuschieben und ein Muster zu erkennen. Und dann ist man ganz begierig darauf immer neue Puzzleteile zu bekommen, damit man irgendwann das große Ganze zu sehen kriegt.
Es ist die Geschichte dreier Frauen - Jenni, Camila und Natalia, Oma, Ziehtocher und Enkelin - und gleichzeitig auch die Geschichte dreier Generationen in Portugal. Alle drei sind wahnsinnig spannende Charaktere mit einer faszinierenden, elegant miteinander verwobenen Lebensgeschichte, mit Sehnsüchten, Wünschen und Träumen und Liebesbeziehungen. Das Ende lässt einen mit einem Gefühl von bittersüßer Sehnsucht und Befriedigung zurück, aber auch mit dem Wunsch sein eigenes Leben zu packen und besser zu leben, mehr und inniger zu lieben und mutiger zu sein.
Einziger (wirklich kleiner) Kritikpunkt ist, dass ich es sehr verwirrend fand, dass die Anrede "Du" in Jennis Tagebuch bei mehreren Personen gebraucht wird und es dadurch manchmal unmöglich war rauszufinden, ob sie nun Camila meint oder doch Antonio. Ich habe mich gefragt, ob das an der Übersetzung liegt, bzw ob es im portugiesischen sowas wie ein "männliches Du" und ein "weibliches Du" gibt, so dass es da vielleicht leichter zu erkennen ist?
Aber das ist auch wirklich schon alles, was ich zu bemängeln hätte.
Jetzt möchte ich losgehen und mich mit der Geschichte Portugals im 20. Jahrhundert beschäftigen, über die ich traurigerweise fast gar nichts weiß.
Also Fazit - ein wirklich tolles Buch, sehr empfehlenswert. Der Schreibstil ist nicht immer leicht zugänglich, aber wenn man sich einmal darauf einlässt, wird man definitiv belohnt.
October 16, 2018
Lindas Book Obsession Reviews “In Your Hands” by Ines Pedrosa, Translated by Andrea Rosenberg, @Amazon Crossing October 16, 2018
Ines Pedrosa, Author of “In Your Hands” has written a unique, expressive, political story told by three female narratives. The novel was translated by Andrea Rosenberg. The Genres for this book are Fiction, Women’s Fiction, and Historical Fiction. The author writes about “the struggle of independence and fight against oppression”. The timeline of the novel starts in Portugal in 1935.There are three generations of women in this family up to the present that tell each side of their story.
The author describes her dysfunctional cast of characters as complex and complicated. In 1935, Jenny marries Antonio, not aware that Antonio’s love is Pedro. Jenny conveys her thoughts through a journal. The three live together which is certainly not a conventional way of living in this time era. The reader gets to see the Political unrest throughout the years.
During a period of rebellion, Pedro has a daughter with another woman, and gives the daughter to Jenny to raise, after the woman dies. Camilla is brought up by Jenny as her daughter, and is brought up in Jenny’s home with Antonio and Pedro. Camilla tells her story of life through the lens of a camera, just like her birth mother had. During her career as a photo-journalist, she has a relationship and Natalia is born. Natalia is concerned with architecture, and looks how to piece things together. Natalia communicates by letters to her now deceased Grandmother Jenny.
This is a heavy,thought -provoking , serious read, with some tones of melancholy interjected. There is a search for love, freedom, peace and hope. It is the story of the three generation women’s struggle. I would recommend this novel for those readers who enjoy a story that leaves you thinking after you are finished with it.
Ines Pedrosa, Author of “In Your Hands” has written a unique, expressive, political story told by three female narratives. The novel was translated by Andrea Rosenberg. The Genres for this book are Fiction, Women’s Fiction, and Historical Fiction. The author writes about “the struggle of independence and fight against oppression”. The timeline of the novel starts in Portugal in 1935.There are three generations of women in this family up to the present that tell each side of their story.
The author describes her dysfunctional cast of characters as complex and complicated. In 1935, Jenny marries Antonio, not aware that Antonio’s love is Pedro. Jenny conveys her thoughts through a journal. The three live together which is certainly not a conventional way of living in this time era. The reader gets to see the Political unrest throughout the years.
During a period of rebellion, Pedro has a daughter with another woman, and gives the daughter to Jenny to raise, after the woman dies. Camilla is brought up by Jenny as her daughter, and is brought up in Jenny’s home with Antonio and Pedro. Camilla tells her story of life through the lens of a camera, just like her birth mother had. During her career as a photo-journalist, she has a relationship and Natalia is born. Natalia is concerned with architecture, and looks how to piece things together. Natalia communicates by letters to her now deceased Grandmother Jenny.
This is a heavy,thought -provoking , serious read, with some tones of melancholy interjected. There is a search for love, freedom, peace and hope. It is the story of the three generation women’s struggle. I would recommend this novel for those readers who enjoy a story that leaves you thinking after you are finished with it.
August 21, 2019
O livro na verdade é uma colcha de retalhos de pensamentos, reflexões e observações sobre o mundo, as pessoas e a alma humana, salpicado de poesia em forma de prosa -- tudo isso construído em três partes por três vozes distintas, três mulheres de três gerações de uma mesma família. O enredo na verdade é praticamente inexistente, é só uma desculpa pra ir se tecendo essa colcha de retalhos. No final confesso que já estava com "fome" de ler outra coisa, mas o livro vale nem que seja pelas frases maravilhosas que a Inês Pedrosa escreve, por exemplo:
"O amor não tem portas que possamos abrir e fechar, nem passagens secretas para um sótão onde possamos fazer férias dele. Toma conta de tudo em nós, envolve-nos como um lençol de tédio, sedoso, infindo. Ninguém fala deste tédio sublime, tão contrário à acção e à eficácia, imóvel inimigo do progresso do mundo. Só no trono do sonho, iluminado e funesto, o amor interessa. Prolongada, a vida torna-se demasiado curta e o amor ganha o ritmo da chuva que bate leve, levemente."
"O amor não tem portas que possamos abrir e fechar, nem passagens secretas para um sótão onde possamos fazer férias dele. Toma conta de tudo em nós, envolve-nos como um lençol de tédio, sedoso, infindo. Ninguém fala deste tédio sublime, tão contrário à acção e à eficácia, imóvel inimigo do progresso do mundo. Só no trono do sonho, iluminado e funesto, o amor interessa. Prolongada, a vida torna-se demasiado curta e o amor ganha o ritmo da chuva que bate leve, levemente."
December 6, 2025
لم احتمل قراءتها بعدما وصلت للنصف ، مضجرة ومملة
December 29, 2014
[...] A morte do marido roubara-lhe a vontade de ser bela.
Ela considerava a beleza uma consequência natural do acto de amar e desprezava profundamente todas as diligências conscientes daquilo a que chamava << a ostentação feminina>>.Fazia troça das mulheres que se maquilhavam <>, e a cirurgia estética parecia-lhe, excepto em casos de acidentes graves, uma afronta à grandeza humana. Dizia que a arte se tornara abstracta à medida que os homens e as mulheres se confundiam, numa mesma linha de montagem de seres geométricos, de rostos e corpos idênticos. Via Michael Jackson na televisão e suspirava: <> Estava louca, sim, mas não tão louca que alguma vez se esquecesse de tomar os remédios para a tensão, ou as vitaminas. Declarava-se determinada a viver a velhice até ao fim, para poder afrontar o mundo anti-rugas e divertir-se a blasfemar. [....]
Ela considerava a beleza uma consequência natural do acto de amar e desprezava profundamente todas as diligências conscientes daquilo a que chamava << a ostentação feminina>>.Fazia troça das mulheres que se maquilhavam <>, e a cirurgia estética parecia-lhe, excepto em casos de acidentes graves, uma afronta à grandeza humana. Dizia que a arte se tornara abstracta à medida que os homens e as mulheres se confundiam, numa mesma linha de montagem de seres geométricos, de rostos e corpos idênticos. Via Michael Jackson na televisão e suspirava: <> Estava louca, sim, mas não tão louca que alguma vez se esquecesse de tomar os remédios para a tensão, ou as vitaminas. Declarava-se determinada a viver a velhice até ao fim, para poder afrontar o mundo anti-rugas e divertir-se a blasfemar. [....]
November 22, 2018
You know how you have that grandmother or elderly Aunt or friend who loves to tell you stories about people you don't know in stream of consciousness style? Well, this book is like all of them telling you those stories simultaneously. Too many narrators, too many disconnected, random tidbits of stories with no logical flow or connection. Makes my head hurt.
December 28, 2018
In Your Hands is a family saga of a Portuguese family, covering a grand sweep from 1935 through 1994 and featuring three women from successive generations. Each woman – grandmother Jenny, daughter Camila, granddaughter Natalia – is given her own narrative voice and section in the book. There are many other characters in the book, most of whom are quite memorable, and real enough that you sometimes want to kill them.
Pedrosa's prose is exquisite with the first two generations, but I must confess to having trouble with the third. This could have been partly structural: the granddaughter tells her story in a series of letters to her grandmother, a literary device that's hard to pull off. Going straight from Camila's narrative to Natalia's letters, I found the change jarring. The prose in those letters is also too clever too often. I couldn't tell whether this was Natalia's doing or the author's; either way, it felt a little contrived.
This complaint in no way diminishes the novel's other strengths. What stood out for me, apart from the truly scintillating prose in the early and middle sections, are its strong and quirky female characters and the imprints of modern Portuguese history (authoritarian rule under Salazar and the doomed colonial foray into Mozambique) it has left in my mind.
Pedrosa's prose is exquisite with the first two generations, but I must confess to having trouble with the third. This could have been partly structural: the granddaughter tells her story in a series of letters to her grandmother, a literary device that's hard to pull off. Going straight from Camila's narrative to Natalia's letters, I found the change jarring. The prose in those letters is also too clever too often. I couldn't tell whether this was Natalia's doing or the author's; either way, it felt a little contrived.
This complaint in no way diminishes the novel's other strengths. What stood out for me, apart from the truly scintillating prose in the early and middle sections, are its strong and quirky female characters and the imprints of modern Portuguese history (authoritarian rule under Salazar and the doomed colonial foray into Mozambique) it has left in my mind.
April 19, 2022
Deliciosa história de três vidas.
May 7, 2018
In Your Hands by Ines Pedrosa and translated by Andrea Rosenberg looked like an interesting book. So I requested to get a copy. I must’ve said the magic word because my request was granted.
It follows the lives of three Portuguese women-Jenny, Camila, and Natalia- through collections of diaries and letters.
Jenny is married to Antonio who is really in a relationship with Pedro. They were married in 1935 so it was pretty uncommon to have a polyamorous marriage. Jenny was the third wheel – a wealthy third wheel. She stays married to Antonio even if it’s just for appearances. I would not be so calm about it. I don’t even think she has a guy on the side.
Camila is Pedro’s daughter from a one-night stand. Her birth mother left her with Pedro so she could fight the Nazis. Jenny raises her as her own daughter.
Natalia is Camila’s daughter with Xavier, an African soldier.
They all have their secrets. I can’t tell you all of them. You should read the book and find out for yourself.
The publication date is October 16, 2018. You can pre-order it on Amazon.
In Your Hands on Amazon
*I received an ebook from NetGalley in exchange for doing a review. All opinions are my own. Obviously.
It follows the lives of three Portuguese women-Jenny, Camila, and Natalia- through collections of diaries and letters.
Jenny is married to Antonio who is really in a relationship with Pedro. They were married in 1935 so it was pretty uncommon to have a polyamorous marriage. Jenny was the third wheel – a wealthy third wheel. She stays married to Antonio even if it’s just for appearances. I would not be so calm about it. I don’t even think she has a guy on the side.
Camila is Pedro’s daughter from a one-night stand. Her birth mother left her with Pedro so she could fight the Nazis. Jenny raises her as her own daughter.
Natalia is Camila’s daughter with Xavier, an African soldier.
They all have their secrets. I can’t tell you all of them. You should read the book and find out for yourself.
The publication date is October 16, 2018. You can pre-order it on Amazon.
In Your Hands on Amazon
*I received an ebook from NetGalley in exchange for doing a review. All opinions are my own. Obviously.
April 10, 2021
Interesting structure for a book--not so much nonlinear (one generation speaks and then the next speaks and then the next, in order) but still a little nonchronological in that these people are all writing mostly retrospectives on their lives, and so they jump around, focusing sometimes on people or connected events rather than chronological order. What's most interesting to me is how even within a single narrator's account, you get conflicting views of other characters due to the narrator's own opinion of this person changing. My favorite instances of this are Natalia's developing perspective of Leonor and Jenny slowly telling you more and more about Antonio, bringing him from simply the love of her life to a more fleshed out human being.
I also read this book partly bc I heard it had fun queer rep. Queer rep was so-so; I like Jenny talking about her unconventional marriage but at the same time, she's such an outsider perspective on Everything, and so clearly biased (and willfully so), and then the Leonor plot thread left me kind of sad, though it was realistic.
Overall, a good book.
I also read this book partly bc I heard it had fun queer rep. Queer rep was so-so; I like Jenny talking about her unconventional marriage but at the same time, she's such an outsider perspective on Everything, and so clearly biased (and willfully so), and then the Leonor plot thread left me kind of sad, though it was realistic.
Overall, a good book.
May 4, 2018
Set in Portugal across decades beginning in 1935 we have a marriage which is rather unusual - Jenny gets married to Antonio but there is always Pedro as the third wheel in the marriage. Holding political salons and entertainment Pedro is much more important to Antonio than Jenny will ever be, but for appearances sake the facade is maintained always.
Fast forward thirty years and we have Camila now a headstrong young woman who reminisces about a love in Mozambique and who also bequeathed to her a daughter Natalija.
Three women's stories told across the generations, each with plenty of secrets and convoluted as thy come each of the women's stories are unique to their time and age.
Interesting background setting of turbulent Portugal and three strong determined women trying to set their mark.
Fast forward thirty years and we have Camila now a headstrong young woman who reminisces about a love in Mozambique and who also bequeathed to her a daughter Natalija.
Three women's stories told across the generations, each with plenty of secrets and convoluted as thy come each of the women's stories are unique to their time and age.
Interesting background setting of turbulent Portugal and three strong determined women trying to set their mark.
April 8, 2018
Three women, Three generations, Three distinct voices.
I did not know what to expect while reading this, but it's got quite a unique flair, for the author succeeds in immersing the reader in the life of each character seamlessly.
The writing is beautiful. The book is divided into three parts: Jenny has the first, then her daughter Camilla, has the second and finally-Natalia, her granddaughter, has the last. Each shares their memories, conflicts, passion and romance in their own way and you cannot help but see how powerful and resolute they are in their decision making.
At some point, when I was reading Camilla's section, I thought of the book, In the Time of the Butterflies by Julia Alvarez.
Thank you NetGalley for the eARC.
I did not know what to expect while reading this, but it's got quite a unique flair, for the author succeeds in immersing the reader in the life of each character seamlessly.
The writing is beautiful. The book is divided into three parts: Jenny has the first, then her daughter Camilla, has the second and finally-Natalia, her granddaughter, has the last. Each shares their memories, conflicts, passion and romance in their own way and you cannot help but see how powerful and resolute they are in their decision making.
At some point, when I was reading Camilla's section, I thought of the book, In the Time of the Butterflies by Julia Alvarez.
Thank you NetGalley for the eARC.
October 23, 2018
Three generations of Portuguese women tell their stories. From the 1930s to the 1990s, set against Portugal’s often turbulent history, they each embark on a quest for love, fulfilment and freedom. In the first section we meet Jenny, caught in an unorthodox relationship with 2 men, one of whom has a daughter, Camila, whose reminiscences of her time in revolutionary Mozambique make up the 2nd part. And the 3rd is in the form of letters from her daughter Natalia, an architect. The writing is quite dense and the characters complex, but I didn’t find the book drawing me in to the narrative. I appreciated reading about the historical background but the women remained opaque to me and I couldn’t relate to them. An interesting book, but not one I found particularly enjoyable.
May 6, 2018
Simply book, very feminin but not only for women. The writing is beautiful.
Three women, Three generations, Three distinct voices.
I did not know what to expect while reading this, but it's got quite a unique flair, for the author succeeds in immersing the reader in the life of each character seamlessly.
Three women, Three generations, Three distinct voices.
I did not know what to expect while reading this, but it's got quite a unique flair, for the author succeeds in immersing the reader in the life of each character seamlessly.
June 23, 2018
I loved the writing in this book. It tells the story of one family through three generations of women. I highly recommend it.
I would like to thank Netgalley and the publisher for providing me with a review copy of the book. All opinions expressed are my own.
I would like to thank Netgalley and the publisher for providing me with a review copy of the book. All opinions expressed are my own.
March 27, 2018
This book reminded me of the first time I read Like Water for Chocolate. There is Eros here, without the alarm of too much mood-killing detail. Lovely writing and a romantic story.
March 9, 2025
La historia reciente de Portugal retratada en 3 mujeres, 3 generaciones.
No es mi estilo favorito.
No es mi estilo favorito.
June 11, 2019
There may well be a good story hidden in these pages, but I will never find out.
This book put me to sleep on three different occasions... I only made it as far as page 47.
Characters are flat. Activity is non-existent. The idea of the plot is alright, but thus far in, there's none of it.
This book put me to sleep on three different occasions... I only made it as far as page 47.
Characters are flat. Activity is non-existent. The idea of the plot is alright, but thus far in, there's none of it.
May 13, 2019
Beautiful. I will certainly read this book again, soon.
March 4, 2019
"In the peace and quiet of books, dreams and ideas continue to resist the hegemony of mobs"
Inês Pedrosa's IN YOUR HANDS is a melancholic chronicle of the lives of three generations of women in the Lisbon, Portugal of the 20th century. Masterfully wrought in translation from the Portuguese by Andrea Rosenberg, the counter-conventional lives of these three women are revealed in three parts: in Jenny's lifelong journal entries, in Camila's reflections on fading photographs, and in Natália's unsent letters to Jenny. Over six decades, Pedrosa's trio contemplate love; family and motherhood; solitude; time and mortality; racial, gender, and sexual politics; societal change in revolutionary Portugal, and war in Mozambique. All in challenging but lyrical prose that likely led to me absorbing the book twice over during my first reading.
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"The light dances in waves on the movement of the boats. In the middle of the night the glowing vessels cry out, filling the voids of absence between dreams. Those horns soothe me, as if they were confirming the roundness of the earth and the futility of fretting."
"I’m a solitary creature, so I’ve never faced disappointments. I avoid people and observe them from a distance; I never manage to see them from close up, without context."
"Unlike my mother, I’ve always been more interested in buried connections than in the spectacle of rupture."
"Nothing is lost, everything transforms."
Inês Pedrosa's IN YOUR HANDS is a melancholic chronicle of the lives of three generations of women in the Lisbon, Portugal of the 20th century. Masterfully wrought in translation from the Portuguese by Andrea Rosenberg, the counter-conventional lives of these three women are revealed in three parts: in Jenny's lifelong journal entries, in Camila's reflections on fading photographs, and in Natália's unsent letters to Jenny. Over six decades, Pedrosa's trio contemplate love; family and motherhood; solitude; time and mortality; racial, gender, and sexual politics; societal change in revolutionary Portugal, and war in Mozambique. All in challenging but lyrical prose that likely led to me absorbing the book twice over during my first reading.
-----
"The light dances in waves on the movement of the boats. In the middle of the night the glowing vessels cry out, filling the voids of absence between dreams. Those horns soothe me, as if they were confirming the roundness of the earth and the futility of fretting."
"I’m a solitary creature, so I’ve never faced disappointments. I avoid people and observe them from a distance; I never manage to see them from close up, without context."
"Unlike my mother, I’ve always been more interested in buried connections than in the spectacle of rupture."
"Nothing is lost, everything transforms."
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