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Why Is Things I Don'T Want To Know Considered A Must-Read?

2025-11-11 13:30:47 80

4 Answers

Wesley

2025-11-12 02:30:31

There’s a moment in this book where Levy describes polishing a lemon on her sleeve before eating it, and that’s the whole vibe—taking something sour and making it luminous. It’s slim but dense, the kind of book you read in an afternoon but revisit for years. What makes it stand out is its refusal to perform. Levy isn’t trying to impress you with her suffering or her wit; she’s just showing you how she stitches a self together despite the Holes. The section on her father’s political exile crushed me—not because it’s tragic, but because she renders the Aftermath so precisely: the way ordinary objects become charged with memory. If you want writing that feels like truth without the hype, this is it.

Harper

2025-11-12 11:07:47

Deborah Levy's 'Things I Don't Want to Know' hit me like a quiet storm—I didn’t expect it to linger in my mind for weeks afterward. It’s one of those rare books that blends memoir and manifesto so seamlessly, you forget where the personal ends and the political begins. Levy’s reflections on womanhood, writing, and displacement are razor-sharp yet poetic, like having a conversation with the wisest friend you’ve never met.

What makes it a must-read, though, is how universal it feels despite its specificity. She tackles everything from motherhood to exile, but it never feels heavy-handed. Instead, it’s like she’s handing you a prism, showing how fragmented experiences can form a coherent light. I’d especially recommend it to anyone who’s ever felt torn between roles—artist, parent, outsider—because Levy doesn’t offer answers. She offers solidarity, and that’s rarer.

Zane

2025-11-13 03:00:32

I picked up 'Things I Don’t Want to Know' expecting a writer’s memoir and got something far wilder—a geode of a book, plain on the outside but glittering with fractures inside. Levy structures it as a response to Orwell’s 'Why I Write,' but where Orwell was clinical, she’s visceral. Her description of postpartum depression—'a darkness like ink spreading in water'—is some of the most accurate prose I’ve read on the subject.

The brilliance lies in how she connects private struggles to larger silences. When she writes about apartheid-era Johannesburg or 1980s London, it’s never just backdrop; it’s the skin of the story. This book taught me that political writing doesn’t need slogans. Sometimes it’s a woman sitting on a Hotel bed, counting what she’s lost and gained just by existing. That’s why it’s indispensable—it turns the personal into something quietly revolutionary.

Paisley

2025-11-17 09:54:26

If you’ve ever stared at a blank page, paralysed by the weight of your own life, this book is your antidote. Levy’s writing is deceptively simple—she’ll drop a line like 'I was more alive to ghosts than to people' and suddenly you’re reevaluating your last decade. It’s not just about writing; it’s about the quiet rebellions that define us. The way she frames her time in Majorca, the Catalan Winter seeping into her bones while she reckons with Orwell’s legacy—it’s atmospheric without being pretentious. What stuck with me was her honesty about fear. Not the dramatic kind, but the daily fear of disappearing into others’ expectations. That’s why it’s essential: it names what we’re often too busy to notice.

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Why Is Things I Don'T Want To Know Considered A Must-Read?

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