SALE ON NOW! PROMOTIONS
Ottessa Moshfegh is a fiction writer from New England. Eileen, her first novel, was shortlisted for the National Book Critics Circle Award and the Man Booker Prize, and won the PEN/Hemingway Award for debut fiction. My Year of Rest and Relaxation and Death in Her Hands, her second and third novels, were New York Times bestsell-ers. She is also the author of the short story collection Homesick for Another World and a novella, McGlue. She lives in Southern California.
Compelling... Moshfegh's bold venture beyond her comfort zone in Lapvona is a welcome promise of how much more she has to offer American literature today. * Financial Times * What impresses here is not so much Moshfegh's abilities with character or narrative, or even her language . . . as the qualities Lapvona shares with a Francis Bacon painting: depicting in blood-red vitality, without morals or judgment, the human animal in its native chaos. * Guardian * Moshfegh expertly creates a world with its own superstitions and laws, both timeless and topical. * Oprah Daily * Moshfegh's genius is her ability to rip away the veil, revealing the horrors beneath, in writing so compelling, and bleakly funny, that we can't bear to look away. * i * A witty, vicious novel.. . Moshfegh is one of our most thrilling chroniclers of the abject * Observer (USA) * Booker-shortlisted Ottessa Moshfegh is likely to out-weird most things published next year - set in a medieval fiefdom, could it be a work of genius, too? -- Stephanie Cross * Daily Mail, *Books to Look Out For 2022* * Deliriously quirky medieval tale . . . Moshfegh brings her trademark fascination with the grotesque to depictions of the pandemic, inequality, and governmental corruption, making them feel both uncanny and all too familiar. It's a triumph. * Publishers Weekly (starred review) * [A] truly unique novel. * Times Literary Supplement * Moshfegh writes brilliantly bizarre. Her arresting fourth novel continues this tradition. * Mail on Sunday * Despite its medieval milieu, Lapvona is a quintessential Moshfegh book. It has the warped earthiness of the author's first two novels... [and] a powerful undercurrent of allegory. * Economist *
