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Jia Tolentino

Trick Mirror

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Times book of the year
A Guardian book of the year
‘Magnificent’The Times
‘Dazzling’ New Statesman
‘It filled me with hope’ Zadie Smith
We are living in the era of the self, in an era of malleable truth and widespread personal and political delusion. In these nine interlinked essays, Jia Tolentino, the New Yorker’s brightest young talent, explores her own coming of age in this warped and confusing landscape.
From the rise of the internet to her own appearance on an early reality TV show; from her experiences of ecstasy — both religious and chemical — to her uneasy engagement with our culture’s endless drive towards ‘self-optimisation’; from the phenomenon of the successful American scammer to her generation’s obsession with extravagant weddings, Jia Tolentino writes with style, humour and a fierce clarity about these strangest of times.
Following in the footsteps of American luminaries such as Susan Sontag, Joan Didion and Rebecca Solnit, yet with a voice and vision all her own, Jia Tolentino writes with a rare gift for elucidating nuance and complexity, coupled with a disarming warmth. This debut collection of her essays announces her exactly the sort of voice we need to hear from right now — and for many years to come.
This book is currently unavailable
383 printed pages
Original publication
2019
Publication year
2019
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  • Paulina Hernández Marroquínshared an impression5 years ago
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Quotes

  • Lucy E. Cosmehas quoted6 months ago
    best-case scenario for a rape victim in terms of adjudication is the worst-case scenario in terms of experience: for people to believe you deserve justice, you have to be destroyed.
  • Lucy E. Cosmehas quoted10 months ago
    I wonder, sometimes, if I have continued to do drugs because they make me feel the way I did when I was little, an uncomplicated creation, vulnerable to guilt and benevolence.
  • Lucy E. Cosmehas quotedlast year
    I cling to the Milan women’s understanding of these literary heroines as mothers. I wish I had learned to read them in this way years ago—with the same complicated, ambivalent, essential freedom that a daughter feels when she looks at her mother, understanding her as a figure that she simultaneously resists and depends on; a figure that she uses, cruelly and lovingly and gratefully, as the base from which to become something more.

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