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'I can't think of any writer aside from Virginia Woolf who writes better about what it is to be a woman' Observer  _________________________________  'Life falls apart.  We try to get a grip and hold it together.  And then we realise we don't want to hold it together . . .'   The final instalment in Deborah Levy's critically acclaimed 'Living Autobiography', Real Estate, is available now. _________________________________   'I just haven't stopped reading it . . . it talks so beautifully about being a woman' Billie Piper on BBC Radio 4's Desert Island Discs  'It is the story of every woman throughout history who has expended her love and labour on making a home that turns out to serve the needs of everyone except herself. Wonderful' Guardian   'Wise, subtle and ironic, Levy's every sentence is a masterpiece of clarity and poise . . . a brilliant writer' Daily Telegraph   'A graceful and lyrical rumination on the questions, \"What is a woman for? 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Its sheer technical bravura places it head and shoulder above pretty much everything else on the [Booker] longlist' Daily Telegraph   'An ice-cold skewering of patriarchy, humanity and the darkness of the 20th century Europe' The Times   'The man who had nearly run me over had touched my hair, as if he were touching a statue or something without a heartbeat...'  In 1988 Saul Adler (a narcissistic, young historian) is hit by a car on the Abbey Road. He is apparently fine; he gets up and goes to see his art student  girlfriend, Jennifer Moreau. They have sex then break up, but not before she has photographed Saul crossing the same Abbey Road.  Saul leaves to study in communist East Berlin, two months before the Wall comes down. There he will encounter - significantly - both his assigned translator and his translator's sister, who swears she has seen a jaguar prowling the city. He will fall in love and brood upon his difficult, authoritarian father. 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A feverish coming-of-age novel' Daily Telegraph  'A triumph of storytelling' Literary Review _________________________________  'Today I dropped my laptop on the concrete floor of a bar built on the beach. My laptop has all my life in it and knows more about me than anyone else. So what I am saying is that if it is broken, so am I . . .'  Two women arrive in a village on the Spanish coast. Rose is suffering from a strange illness and the doctors are mystified. Her daughter Sofia has brought her here to find a cure with the infamous and controversial Dr Gomez - a man of questionable methods and motives. Intoxicated by thick heat and the seductive people who move through it, both women begin to see their lives clearly for the first time in years.  Through the opposing figures of mother and daughter, Deborah Levy explores the strange and monstrous nature of womanhood. 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Ese movimiento inocuo la llevaba a rincones de su memoria a los que no quería volver. Son esos recuerdos los que forman \u003ci\u003eCosas que no quiero saber\u003c\/i\u003e, el inicio de su «autobiografía en construcción».\u003cbr\u003e \u003cbr\u003e Esta primera parte de lo que será un tríptico sobre la condición de ser mujer nace como respuesta al ensayo «Por qué escribo», de George Orwell. Sin embargo, Levy no viene a dar respuestas. Viene a abrir interrogantes que deja flotando en una atmósfera formada por toda la fuerza poética de su escritura. Su magia no es otra que la de las conexiones impredecibles de la memoria: el primer mordisco a un albaricoque la traslada a la salida de sus hijos de la escuela, observando a las otras madres, «jóvenes convertidas en sombras de lo que habían sido»; el llanto de una mujer le devuelve la nieve cayendo sobre su padre en el Johannesburgo del apartheid, poco antes de ser encarcelado; el olor del curry la lleva a su adolescencia en Londres, escribiendo en servilletas de bares y soñando con una habitación propia.\u003cbr\u003e \u003cbr\u003e Leer a Levy es querer entrar en sus recuerdos y dejarse llevar por la calma y el aplomo de quien ha aprendido todo lo que sabe (y todo lo que no querría saber) a fuerza de buscar su propia voz.\u003cbr\u003e \u003cbr\u003e «Imprescindible. 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