Paperback. Pub 2014-03-01 392 Chinese jiangsu and press the heart college students from poor rural Laura. in order to survive and join power class. do not hesitate to betray body. suddenly was found in the dormitory to suicide.Protagonist trying to figure out with several of her classmates. Lola death truth. but under the shadow of nicolae ceausescu totalitarian. look for the road. but violence will follow.I don't want to face myself today : young women in a clothing factory. because in clothes shipped to Italy with a note I wait for you. by security department accused of prostitution and unemployment in the factory. and must accept the secret police questioned on a regular basis.Cited gradually became a part of daily life. also called the past heart beast I don't want to face yourself today
Herta M¨¹ller was born in Ni?chidorf, Timi? County, Romania, the daughter of Swabian farmers. Her family was part of Romania's German minority and her mother was deported to a labour camp in the Soviet Union after World War II.
She read German studies and Romanian literature at Timi?oara University. In 1976, M¨¹ller began working as a translator for an engineering company, but in 1979 was dismissed for her refusal to cooperate with the Securitate, the Communist regime's secret police. Initially, she made a living by teaching kindergarten and giving private German lessons.
Her first book was published in Romania (in German) in 1982, and appeared only in a censored version, as with most publications of the time.
In 1987, M¨¹ller left for Germany with her husband, novelist Richard Wagner. Over the following years she received many lectureships at universities in Germany and abroad.
In 1995 M¨¹ller was awarded membership to the German Academy for Writing and Poetry, and other positions followed. In 1997 she withdrew from the PEN centre of Germany in protest of its merge with the former German Democratic Republic branch.
The Swedish Academy awarded the 2009 Nobel Prize in Literature to M¨¹ller, "who, with the concentration of poetry and the frankness of prose, depicts the landscape of the dispossessed".