“I didn’t like the characters.” “I couldn’t relate.” Whenever I hear someone bring up the matter of “likability” a single thought roars through my head: How ‘likable’ do you really think you are? A main purpose of fiction is to illuminate those nasty thoughts we all have but are rarely willing to admit. A book should be intimate, uncomfortably so, just as to actually occupy another person’s mind and body would be. It also seems to me “the characters” referenced by these kinds of critiques are always women. We expect fictional men to shock us and to struggle with their own desires; why should we expect women to only charm?
Moshfegh’s first novel opens with the narrator “very unhappy and angry all the time.” She is the sinister version of SNL’s Mary Catherine Gallagher, unflinchingly honest, acerbically observant, self-absorbed, and in love with her own nastiness. “Didn’t she know I was a monster, a creep, a crone? How dare she mock me with courtesy when I deserved to be greeted with disgust and dismay?” Though she becomes obsessed with beautiful Rebecca, it’s the caustic Eileen we can’t look away from, no matter how much we might want to.
Shortlisted for the 2016 Man Booker Prize and chosen by David Sedaris as his recommended book for his Fall 2016 tour.
So here we are. My name was Eileen Dunlop. Now you know me. I was twenty-four years old then, and had a job that paid fifty-seven dollars a week as a kind of secretary at a private juvenile correctional facility for teenage boys. I think of it now as what it really was for all intents and purposes-a prison for boys. I will call it Moorehead. Delvin Moorehead was a terrible landlord I had years later, and so to…
I read Nigerian writer Braithwaite’s slim, fast-paced debut in a single day. This is the story of two women, here, sisters. One beautiful, charming, sensual, self-absorbed, and sociopathic—the one actually doing the stabbing—and the other, mousey, responsible, loyal to a fault—the one cleaning everything up. As moral grounds become murkier we are left to wonder, which is worse?
Sunday Times bestseller and The Times #1 bestseller
Longlisted for the Booker Prize 2019 Shortlisted for the Women's Prize for Fiction 2019 Winner of the 2019 LA Times Award for Best Crime Thriller Capital Crime Debut Author of the Year 2019 __________
'A literary sensation' Guardian
'A bombshell of a book... Sharp, explosive, hilarious' New York Times
'Glittering and funny... A stiletto slipped between the ribs and through the left ventricle of the heart' Financial Times __________
When Korede's dinner is interrupted one night by a distress call from her sister, Ayoola, she knows what's expected of her: bleach, rubber…
Our protagonist, Adèle, is a sex addict in a sexless marriage, longing to escape the quotidian boredom of motherhood. Her desires are clear. “She wants to be devoured, sucked, swallowed whole.” She also wants to not want this. The interesting question the novel poses indirectly: What do we want of this character? Slimani (of The Perfect Nanny fame) writes so deliciously about Adèle’s desires the answer is clear—we long to watch Adèle falter, we want to hear every terrible thought in her head.
"Fascinating . . . Adele has glanced at the covenant of modern womanhood--the idea that you can have it all or should at least die trying--and detonated it." --The New York Times Book Review
"[A] fierce, uncanny thunderbolt of a book." --Entertainment Weekly
From the bestselling author of The Perfect Nanny--one of the 10 Best Books of the Year of The New York Times Book Review--as well as Sex and Lies and In the Country of Others, her prizewinning novel about a sex-addicted woman in Paris
I was working as a nanny in New York City when I discovered this wild novel, and I consumed it in short order. Marie, fresh from prison, is hired out of pity to watch a high school friend’s daughter. “The situation would’ve been humiliating had Marie any ambition in life. Fortunately, Marie was not in any way ambitious.” Marie is instead selfish, culpable, hungry, and smitten—first with her friend’s life, then her friend’s husband, and most dangerously, her friend’s daughter. Dermansky’s novel could easily slip into thriller territory, and while it is as fast-paced and compulsively readable, instead we discover unpredictably that Bad Marie is really a love story.
"Bad Marie" is the story of Marie, tall, voluptuous, beautiful, thirty years old, and fresh from six years in prison for being an accessory to murder and armed robbery. The only job Marie can get on the outside is as a nanny for her childhood friend Ellen Kendall, an upwardly mobile Manhattan executive whose mother employed Marie's mother as a housekeeper. After Marie moves in with Ellen, Ellen's angelic baby Caitlin, and Ellen's husband, a very attractive French novelist named Benoit Doniel, things get complicated, and almost before she knows what she's doing, Marie has absconded to Paris with both…
“I like my sister Constance, and Richard Plantagenet, and Amanita phalloides, the death-cap mushroom. Everyone else in my family is dead.” Mary Katherine Blackwood is one of my favorite narrators in literature. Her intimate sinister frankness is rivaled only by Shirley Jackson’s unbeatable ability to write dialogue that sends shivers up your spine. The Blackwoods—or what’s left of them—exist with a need to constantly relive the horror of their past and a simultaneous inability to confront it. We feel little sympathy for Mary, but we do feel an unrivaled fascination.
Living in the Blackwood family home with only her sister, Constance, and her Uncle Julian for company, Merricat just wants to preserve their delicate way of life. But ever since Constance was acquitted of murdering the rest of the family, the world isn't leaving the Blackwoods alone. And when Cousin Charles arrives, armed with overtures of friendship and a desperate need to get into the safe, Merricat must do everything in her power to protect the remaining family.
Ella is flat broke: wasting away on bodega coffee, barely making rent, seducing the occasional strange man who might buy her dinner. Unexpectedly, an Upper East Side couple named Lonnie and James rescue her from her empty bank account, offering her a job as a nanny and ushering her into their moneyed world. Both women are just 26—but unlike Ella, Lonnie has a doting husband and son, unmistakable artistic talent, and old family money.
Convinced there must be a secret behind Lonnie’s seemingly effortless life, Ella begins sifting through her belongings. All the while, Ella’s resentment grows, but so does an inexplicable and dizzying attraction. Riveting, propulsive, and startling, Devotion is a masterful debut novel where mismatched power collides with blinding desire, incinerating our perceptions of femininity, lust, and privilege.
This memoir chronicles the lives of three generations of women with a passion for reading, writing, and travel. The story begins in 1992 in an unfinished attic in Brooklyn as the author reads a notebook written by her grandmother nearly 100 years earlier. This sets her on a 30-year search to find her grandmother’s journals and uncover the hidden interior lives of her mother and grandmother.
Her adventures take her to a variety of locations, from a small town in Iowa to New York, Washington, London, and Paris—and finally to a little village in France, where she is finally able…
A Long Way from Iowa: From the Heartland to the Heart of France
This story, about three generations of women with a passion for reading, writing, and travel, begins in 1992, in an unfinished attic in Brooklyn, as a young writer reads journals written by her grandmother as a schoolgirl nearly 100 years earlier. This sets her on a 30-year quest to uncover the hidden lives and unfulfilled dreams of her mother and grandmother. In this coming-of-middle-age memoir, the author comes to realize that the passion for travel and for literature that has fueled her life's journey is a gift that was passed down to her by the very role models she was…
