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| ottessa moshfegh paris review: Homesick For Another World Ottessa Moshfegh, 2017-01-12 'Razor-sharp’ Zadie Smith An electrifying, prizewinning short story collection from the Booker-shortlisted author of Eileen and My Year of Rest and Relaxation. There’s something eerily unsettling about Ottessa Moshfegh’s stories, something almost dangerous while also being delightful – and often even weirdly hilarious. Her characters are all unsteady on their feet; all yearning for connection and betterment, in very different ways, but each of them seems destined to be tripped up by their own baser impulses. The flesh is weak; the timber is crooked; people are cruel to each other, and stupid, and hurtful, but beauty comes from strange sources, and the dark energy surging through these stories is oddly and powerfully invigorating. One of the most gifted and exciting young writers in America, she shows us uncomfortable things, and makes us look at them forensically – until we find, suddenly, that we are really looking at ourselves. ‘Moshfegh’s writing is cinematic – vivid, immediate’ TLS |
| ottessa moshfegh paris review: Miss MacIntosh, My Darling Marguerite Young, 1966 Novel. |
| ottessa moshfegh paris review: The Art of Fiction David Lodge, 2012-04-30 In this entertaining and enlightening collection David Lodge considers the art of fiction under a wide range of headings, drawing on writers as diverse as Henry James, Martin Amis, Jane Austen and James Joyce. Looking at ideas such as the Intrusive Author, Suspense, the Epistolary Novel, Magic Realism and Symbolism, and illustrating each topic with a passage taken from a classic or modern novel, David Lodge makes the richness and variety of British and American fiction accessible to the general reader. He provides essential reading for students, aspiring writers and anyone who wants to understand how fiction works. |
| ottessa moshfegh paris review: The Octopus Museum Brenda Shaughnessy, 2021-06-29 Now in paperback, this collection of bold and scathingly beautiful feminist poems imagines what comes after our current age of environmental destruction, racism, sexism, and divisive politics. Informed as much by Brenda Shaughnessy's worst fears as a mother as they are by her superb craft as a poet, the poems in The Octopus Museum blaze forth from her pen: in these pages, we see that what was once a generalized fear for our children is now hyper-reasonable, specific, and multiple: school shootings, nuclear attack, loss of health care, a polluted planet. As Shaughnessy conjures our potential future, she movingly (and often with humor) envisions an age where cephalopods might rule over humankind, a fate she suggests we may just deserve after destroying their oceans. These heartbreaking, terrified poems are the battle cry of a woman who is fighting for the survival of the world she loves, and a stirring exhibition of who we are as a civilization. |
| ottessa moshfegh paris review: Unpacking My Library Marcel Proust, 2017-01-01 A captivating tour of the bookshelves of ten leading artists, exploring the intricate connections between reading, artistic practice, and identity Taking its inspiration from Walter Benjamin's seminal 1931 essay, the Unpacking My Library series charts a spirited exploration of the reading and book collecting practices of today's leading thinkers. Artists and Their Books showcases the personal libraries of ten important contemporary artists based in the United States (Mark Dion, Theaster Gates, Wangechi Mutu, Ed Ruscha, and Carrie Mae Weems), Canada (Janet Cardiff and George Bures Miller), and the United Kingdom (Billy Childish, Tracey Emin, and Martin Parr). Through engaging interviews, the artists discuss the necessity of reading and the meaning of books in their lives and careers. This is a book about books, but it even more importantly highlights the role of literature in shaping an artist's self-presentation and persona. Photographs of each artist's bookshelves present an evocative glimpse of personal taste, of well-loved and rare volumes, and of the individual touches that make a bookshelf one's own. The interviews are accompanied by top ten reading lists assembled by each artist, an introduction by Jo Steffens, and Marcel Proust's seminal essay On Reading. |
| ottessa moshfegh paris review: In the Distance Hernan Diaz, 2024-03-05 FINALIST FOR THE PULITZER PRIZE FINALIST FOR THE PEN/FAULKNER AWARD WINNER OF THE WHITING AWARD WINNER OF THE SAROYAN INTERNATIONAL PRIZE FOR WRITING WINNTER OF THE VCU CABELL FIRST NOVELIST AWARD WINNER OF THE NEW AMERICAN VOICES AWARD A PUBLISHERS WEEKLY TOP 10 BOOK OF THE YEAR The first novel by the Pulitzer Prize–winning author of Trust, an exquisite and blisteringly intelligent story of a young Swedish boy, separated from his brother, who becomes a legend and an outlaw A young Swedish immigrant finds himself penniless and alone in California. The boy travels east in search of his brother, moving on foot against the great current of emigrants pushing west. Driven back again and again, he meets criminals, naturalists, religious fanatics, swindlers, American Indians, and lawmen, and his exploits turn him into a legend. Diaz defies the conventions of historical fiction and genre, offering a probing look at the stereotypes that populate our past and a portrait of radical foreignness. |
| ottessa moshfegh paris review: Women Writers at Work Paris Review, 1998-07-21 Sixteen of the world's great women writers speak about their work, their colleagues, and their lives. For More Than Forty Years, the acclaimed Paris Review interviews have been collected in the Writers at Work series. The Modern Library relaunches the series with the first of its specialized collections -- interviews with sixteen women novelists, poets, and playwrights, all offering rich commentary on the art of writing and on the opportunities and challenges a woman writer faces in contemporary society. |
| ottessa moshfegh paris review: Notes from an Apocalypse Mark O'Connell, 2020-04-14 AN NPR BEST BOOK OF THE YEAR • An absorbing, deeply felt book about our anxious present tense—and coming to grips with the future, by the author of the award-winning To Be a Machine. “Deeply funny and life-affirming, with a warm, generous outlook even on the most challenging of subjects.” —Esquire We’re alive in a time of worst-case scenarios: The weather has gone uncanny. A pandemic draws our global community to a halt. Everywhere you look there’s an omen, a joke whose punchline is the end of the world. How is a person supposed to live in the shadow of such a grim future? What might it be like to live through the worst? And what on earth is anybody doing about it? Dublin-based writer Mark O’Connell is consumed by these questions—and, as the father of two young children, he finds them increasingly urgent. In Notes from an Apocalypse, he crosses the globe in pursuit of answers. He tours survival bunkers in South Dakota. He ventures to New Zealand, a favored retreat of billionaires banking on civilization’s collapse. He engages with would-be Mars colonists, preppers, right-wing conspiracists. And he bears witness to places, like Chernobyl, that the future has already visited—real-life portraits of the end of the world as we know it. What emerges is an absorbing, funny, and deeply felt book about our anxious present tense—and coming to grips with what’s ahead. |
| ottessa moshfegh paris review: The Unprofessionals The Paris Review, 2015-11-17 A dispatch from the front lines of literature. —The Atlantic The Unprofessionals is an energetic collection celebrating the bold writers at the forefront of today’s literary world—featuring stories, essays, and poems from “America’s greatest literary journal” (Time) For more than half a century, the Paris Review has launched some of the most exciting new literary voices, from Philip Roth to David Foster Wallace. But rather than trading on nostalgia, the storied journal continues to search outside the mainstream for the most exciting emerging writers. Harmonizing a timeless literary feel with impeccable modern taste, its pages are vivid proof that the best of today’s writing more than upholds the lofty standards that built the magazine’s reputation. The Unprofessionals collects pieces from the new iteration of the Paris Review by contemporary writers who treat their art not as a profession, but as a calling. Some, like Zadie Smith, Ben Lerner, and John Jeremiah Sullivan, are already major literary presences, while others, like Emma Cline, Benjamin Nugent, and Ottessa Moshfegh, will soon be household names. A master class in contemporary writing across genres, this collection introduces the must-know voices in the modern literary scene. |
| ottessa moshfegh paris review: Love Me Back Merritt Tierce, 2015-06-09 Sharp and dangerous and breathtaking.... A defiant story about a young woman choosing the life and motherhood that is best for her, without apology.” —Roxane Gay, bestselling author of Bad Feminist Marie is a waitress at an upscale Dallas steakhouse, attuned to the appetites of her patrons and gifted at hiding her private struggle as a young single mother behind an easy smile and a crisp white apron. It’s a world of long hours and late nights, and Marie often gives in to self-destructive impulses, losing herself in a tangle of bodies and urgent highs as her desire for obliteration competes with a stubborn will to survive. Pulsing with a fierce and feral energy, Love Me Back is an unapologetic portrait of a woman cutting a precarious path through early adulthood and the herald of a powerful new voice in American fiction. |
| ottessa moshfegh paris review: See Now Then Jamaica Kincaid, 2013-02-05 In See Now Then, the brilliant and evocative new novel from Jamaica Kincaid—her first in ten years—a marriage is revealed in all its joys and agonies. This piercing examination of the manifold ways in which the passing of time operates on the human consciousness unfolds gracefully, and Kincaid inhabits each of her characters—a mother, a father, and their two children, living in a small village in New England—as they move, in their own minds, between the present, the past, and the future: for, as she writes, the present will be now then and the past is now then and the future will be a now then. Her characters, constrained by the world, despair in their domestic situations. But their minds wander, trying to make linear sense of what is, in fact, nonlinear. See Now Then is Kincaid's attempt to make clear what is unclear, and to make unclear what we assumed was clear: that is, the beginning, the middle, and the end. Since the publication of her first short-story collection, At the Bottom of the River, which was nominated for a PEN/Faulkner Award for Fiction, Kincaid has demonstrated a unique talent for seeing beyond and through the surface of things. In See Now Then, she envelops the reader in a world that is both familiar and startling—creating her most emotionally and thematically daring work yet. |
| ottessa moshfegh paris review: The Autobiography of My Mother Jamaica Kincaid, 1996-01-15 From the recipient of the 2010 Clifton Fadiman Medal, an unforgettable novel of one woman's courageous coming-of-age Jamaica Kincaid's The Autobiography of My Mother is a story of love, fear, loss, and the forging of a character, an account of one woman's inexorable evolution evoked in startling and magical poetry. Powerful, disturbing, stirring, Jamaica Kincaid's novel is the deeply charged story of a woman's life on the island of Dominica. Xuela Claudette Richardson, daughter of a Carib mother and a half-Scottish, half-African father, loses her mother to death the moment she is born and must find her way on her own. Kincaid takes us from Xuela's childhood in a home where she could hear the song of the sea to the tin-roofed room where she lives as a schoolgirl in the house of Jack Labatte, who becomes her first lover. Xuela develops a passion for the stevedore Roland, who steals bolts of Irish linen for her from the ships he unloads, but she eventually marries an English doctor, Philip Bailey. Xuela's is an intensely physical world, redolent of overripe fruit, gentian violet, sulfur, and rain on the road, and it seethes with her sorrow, her deep sympathy for those who share her history, her fear of her father, her desperate loneliness. But underlying all is the black room of the world that is Xuela's barrenness and motherlessness. |
| ottessa moshfegh paris review: Cool for America Andrew Martin, 2021-07-06 Expanding the world of his classic-in-the-making debut novel Early Work, Andrew Martin’s Cool for America is a hilarious collection of overlapping stories that explores the dark zone between artistic ambition and its achievement The collection is bookended by the misadventures of Leslie, a young woman (first introduced in Early Work) who moves from New York to Missoula, Montana to try to draw herself out of a lingering depression, and, over the course of the book, gains painful insight into herself through a series of intense friendships and relationships. Other stories follow young men and women, alone and in couples, pushing hard against, and often crashing into, the limits of their abilities as writers and partners. In one story, two New Jersey siblings with substance-abuse problems relapse together on Christmas Eve; in another, a young couple tries to make sense of an increasingly unhinged veterinarian who seems to be tapping, deliberately or otherwise, into the unspoken troubles between them. In tales about characters as they age from punk shows and benders to book clubs and art museums, the promise of community acts—at least temporarily—as a stay against despair. Running throughout Cool for America is the characters’ yearning for transcendence through art: the hope that, maybe, the perfect, or even just the good-enough sentence, can finally make things right. |
| ottessa moshfegh paris review: Seeing the Body: Poems Rachel Eliza Griffiths, 2020-06-09 Nominee for the 2021 NAACP Image Award in Poetry An elegiac and moving meditation on the ways in which we witness bodies of grief and healing. Poems and photographs collide in this intimate collection, challenging the invisible, indefinable ways mourning takes up residence in a body, both before and after life-altering loss. In radiant poems—set against the evocative and desperate backdrop of contemporary events, pop culture, and politics—Rachel Eliza Griffiths reckons with her mother’s death, aging, authority, art, black womanhood, memory, and the American imagination. The poems take shape in the space where public and private mourning converge, finding there magic and music alongside brutality and trauma. Griffiths braids a moving narrative of identity and its possibilities for rebirth through image and through loss. A photographer as well as a poet, Griffiths accompanies the fierce rhythm of her verses with a series of ghostly, imaginative self-portraits, blurring the body’s internal wilderness with landscapes alive with beauty and terror. The collision of text and imagery offers an associative autobiography, in which narratives of language, absence, and presence are at once saved, revised, and often erased. Seeing the Body dismantles personal and public masks of silence and self-destruction to visualize and celebrate the imperfect freedom of radical self-love. |
| ottessa moshfegh paris review: A Carnival Of Losses Donald Hall, 2018-07-10 Former poet laureate of the United States Donald Hall’s final collection of essays, from the vantage point of very old age, once again “alternately lyrical and laugh-out-loud funny.”* *(New York Times) “Why should a nonagenarian hold anything back?” Donald Hall answers his own question in these self-knowing, fierce, and funny essays on aging, the pleasures of solitude, and the sometimes astonishing freedoms arising from both. Nearing ninety at the time of writing, he intersperses memories of exuberant days in his youth, with uncensored tales of literary friendships spanning decades—with James Wright, Richard Wilbur, Seamus Heaney, and other luminaries. Cementing his place alongside Roger Angell and Joan Didion as a generous and profound chronicler of loss, this final work is as original and searing as anything Hall wrote during his extraordinary literary lifetime. |
| ottessa moshfegh paris review: Mother Tongue Wallis Wilde-Menozzi, 2020-03-17 A probing and poetic examination of language, food, faith, and family attachment in Italian life through the eyes of an American who moved to Parma with her husband and family. In the 1980s, the American writer Wallis Wilde-Menozzi moved permanently with her Italian husband and her daughter to Parma, a sophisticated city in northern Italy, where he became a professor of biology. Her search for rootedness in the city that was to be her home introduced her to complexities in her identity as she migrated into another language and looked for links beyond the joys of Verdi, Correggio, and Parmesan cheese, which visitors have rightly extolled for centuries. The local resistance to change perceived as individualistic led Wilde-Menozzi to explore the pull and challenge of difference and discover the backbone she needed for artistic freedom. In Mother Tongue, Wilde-Menozzi offers stories of far-sighted lives, remarkable Parma men and remarkable women, including the Renaissance abbess Giovanna Piacenza, the fighting Donella Rossi Sanvitale, and her own indefatigable mother-in-law. Framed with a new introduction by the author, and a new foreword by Patricia Hampl, this classic on diversity and tolerance, family, faith, and food in Italy and the United States is at once timeless and timely, a “large, beautiful window into the intelligent, literate, reflective life of Italy” (Shirley Hazzard). |
| ottessa moshfegh paris review: Two Serious Ladies Jane Bowles, 2025-08-26 Jane Bowles’s avant-garde study of women breaking free from the bonds of convention is itself a master class in liberation from the constraints of everyday thinking, form, and feeling. Two Serious Ladies is the only novel ever written by the legendary and underappreciated Jane Bowles. Long held as a visionary cult classic, this subversive, anarchic, and riotous novel follows two upper-class women as they strip themselves of propriety and descend into debauchery—and it now appears with a new introduction by Sheila Heti. Christina Goering and Frieda Copperfield each embark on their own voyage of discovery and emancipation. Mrs. Copperfield visits Panama with her husband, but finds herself descending into a shadowy and seedy demimonde of brothels and bars, while Miss Goering engages in increasingly sordid encounters with strange men. At the end, the two women meet again, each transformed by her experience—and the reader transformed by the devastating wit and strange clarity with which Bowles writes of society and women’s place in it. |
| ottessa moshfegh paris review: Cleanness Garth Greenwell, 2020-01-14 Longlisted for the Prix Sade 2021 Longlisted for the Joyce Carol Oates Prize Longlisted for the Gordon Burn Prize A New York Times Notable Book of 2020 A New York Times Critics Top Ten Book of the Year Named a Best Book of the Year by over 30 Publications, including The New Yorker, TIME, The Washington Post, Entertainment Weekly, NPR, and the BBC In the highly anticipated follow-up to his beloved debut, What Belongs to You, Garth Greenwell deepens his exploration of foreignness, obligation, and desire Sofia, Bulgaria, a landlocked city in southern Europe, stirs with hope and impending upheaval. Soviet buildings crumble, wind scatters sand from the far south, and political protesters flood the streets with song. In this atmosphere of disquiet, an American teacher navigates a life transformed by the discovery and loss of love. As he prepares to leave the place he’s come to call home, he grapples with the intimate encounters that have marked his years abroad, each bearing uncanny reminders of his past. A queer student’s confession recalls his own first love, a stranger’s seduction devolves into paternal sadism, and a romance with another foreigner opens, and heals, old wounds. Each echo reveals startling insights about what it means to seek connection: with those we love, with the places we inhabit, and with our own fugitive selves. Cleanness revisits and expands the world of Garth Greenwell’s beloved debut, What Belongs to You, declared “an instant classic” by The New York Times Book Review. In exacting, elegant prose, he transcribes the strange dialects of desire, cementing his stature as one of our most vital living writers. |
| ottessa moshfegh paris review: Our Secret Life in the Movies Michael McGriff, J. M. Tyree, 2014-10-04 A whip-smart fiction debut, Our Secret Life in the Movies riffs on classic and cult cinema. Inspired by films from silent-era documentaries to music videos, the authors unfold a dual narrative about two boys growing up in the 1980s. Coming of age during the last days of the Cold War, these boys dream of space exploration and nuclear winter, Reaganomics and Dungeons & Dragons, Blade Runner and Red Dawn. Haunting, cinematic, and full of life, Our Secret Life makes it clear that we are in the movies and the movies are in us. |
| ottessa moshfegh paris review: Talk Stories Jamaica Kincaid, 2002-01-09 From The Talk of the Town, Jamaica Kincaid's first impressions of snobbish, mobbish New York Talk Pieces is a collection of Jamaica Kincaid's original writing for the New Yorker's Talk of the Town, composed during the time when she first came to the United States from Antigua, from 1978 to 1983. Kincaid found a unique voice, at once in sync with William Shawn's tone for the quintessential elite insider's magazine, and (though unsigned) all her own--wonderingly alive to the ironies and screwball details that characterized her adopted city. New York is a town that, in return, fast adopts those who embrace it, and in these early pieces Kincaid discovers many of its hilarious secrets and urban mannerisms. She meets Miss Jamaica, visiting from Kingston, and escorts the reader to the West Indian-American Day parade in Brooklyn; she sees Ed Koch don his Cheshire-cat smile and watches Tammy Wynette autograph a copy of Lattimore's Odyssey; she learns the worlds of publishing and partying, of fashion and popular music, and how to call a cauliflower a crudite. The book also records Kincaid's development as a young writer--the newcomer who sensitively records her impressions here takes root to become one of our most respected authors. |
| ottessa moshfegh paris review: The 90-Day Novel Alan Watt, 2017-02-12 In this day-by-day guide through the process of outlining and writing the first draft of your novel in 90 days, [the author] will show you: How to structure your novel without losing connection to your voice; Why you are uniquely qualified to write your story; The dilemma at the heart of your story; How your fears are a portal into your characters; The connection between your life themes and story themes; Why you kept getting stuck, and how to break through.--Back cover. |
| ottessa moshfegh paris review: Eileen Ottessa Moshfegh, 2015-08-18 Now a major motion picture streaming on Hulu, starring Anne Hathaway and Thomasin McKenzie Shortlisted for the Man Booker Prize “Eileen is a remarkable piece of writing, always dark and surprising, sometimes ugly and occasionally hilarious. Its first-person narrator is one of the strangest, most messed-up, most pathetic—and yet, in her own inimitable way, endearing—misfits I’ve encountered in fiction. Trust me, you have never read anything remotely like Eileen.” —Washington Post 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 use his name for such a place feels appropriate. In a week, I would run away from home and never go back. This is the story of how I disappeared. The Christmas season offers little cheer for Eileen Dunlop, an unassuming yet disturbed young woman trapped between her role as her alcoholic father’s caretaker in a home whose squalor is the talk of the neighborhood and a day job as a secretary at the boys’ prison, filled with its own quotidian horrors. Consumed by resentment and self-loathing, Eileen tempers her dreary days with perverse fantasies and dreams of escaping to the big city. In the meantime, she fills her nights and weekends with shoplifting, stalking a buff prison guard named Randy, and cleaning up her increasingly deranged father’s messes. When the bright, beautiful, and cheery Rebecca Saint John arrives on the scene as the new counselor at Moorehead, Eileen is enchanted and proves unable to resist what appears at first to be a miraculously budding friendship. In a Hitchcockian twist, her affection for Rebecca ultimately pulls her into complicity in a crime that surpasses her wildest imaginings. Played out against the snowy landscape of coastal New England in the days leading up to Christmas, young Eileen’s story is told from the gimlet-eyed perspective of the now much older narrator. Creepy, mesmerizing, and sublimely funny, in the tradition of Shirley Jackson and early Vladimir Nabokov, this powerful debut novel enthralls and shocks, and introduces one of the most original new voices in contemporary literature. Ottessa Moshfegh is also the author of My Year of Rest and Relaxation, Homesick for Another World: Stories, and McGlue. |
| ottessa moshfegh paris review: How He Loved Them Kevin Prufer, 2018 The latest collection from an award-winning poet about the complications of romantic, familial, and patriotic love |
| ottessa moshfegh paris review: Bunny Mona Awad, 2019-06-11 NATIONAL BESTSELLER Soon to be a major motion picture Jon Swift + Witches of Eastwick + Kelly 'Get In Trouble' Link + Mean Girls + Creative Writing Degree Hell! No punches pulled, no hilarities dodged, no meme unmangled! O Bunny you are sooo genius! —Margaret Atwood, via Twitter A wild, audacious and ultimately unforgettable novel. —Michael Schaub, Los Angeles Times Awad is a stone-cold genius. —Ann Bauer, The Washington Post The Vegetarian meets Heathers in this darkly funny, seductively strange novel from the acclaimed author of 13 Ways of Looking at a Fat Girl and Rouge We were just these innocent girls in the night trying to make something beautiful. We nearly died. We very nearly did, didn't we? Samantha Heather Mackey couldn't be more of an outsider in her small, highly selective MFA program at New England's Warren University. A scholarship student who prefers the company of her dark imagination to that of most people, she is utterly repelled by the rest of her fiction writing cohort--a clique of unbearably twee rich girls who call each other Bunny, and seem to move and speak as one. But everything changes when Samantha receives an invitation to the Bunnies' fabled Smut Salon, and finds herself inexplicably drawn to their front door--ditching her only friend, Ava, in the process. As Samantha plunges deeper and deeper into the Bunnies' sinister yet saccharine world, beginning to take part in the ritualistic off-campus Workshop where they conjure their monstrous creations, the edges of reality begin to blur. Soon, her friendships with Ava and the Bunnies will be brought into deadly collision. The spellbinding new novel from one of our most fearless chroniclers of the female experience, Bunny is a down-the-rabbit-hole tale of loneliness and belonging, friendship and desire, and the fantastic and terrible power of the imagination. Named a Best Book of 2019 by TIME, Vogue, Electric Literature, and The New York Public Library |
| ottessa moshfegh paris review: My Year of Rest and Relaxation Ottessa Moshfegh, 2019-06-25 Named a Best Book of the Year by The Washington Post, Time, NPR, Vice, Bustle, The New York Times, The Guardian, Kirkus Reviews, Entertainment Weekly, The AV Club, & Audible A New York Times Bestseller • New York Times Readers Pick: 100 Best Books of the 21st Century “One of the most compelling protagonists modern fiction has offered in years: a loopy, quietly furious pillhead whose Ambien ramblings and Xanaxed b*tcheries somehow wend their way through sad and funny and strange toward something genuinely profound.” — Entertainment Weekly “Darkly hilarious . . . [Moshfegh’s] the kind of provocateur who makes you laugh out loud while drawing blood.” —Vogue From one of our boldest, most celebrated new literary voices, a novel about a young woman's efforts to duck the ills of the world by embarking on an extended hibernation with the help of one of the worst psychiatrists in the annals of literature and the battery of medicines she prescribes. Our narrator should be happy, shouldn't she? She's young, thin, pretty, a recent Columbia graduate, works an easy job at a hip art gallery, lives in an apartment on the Upper East Side of Manhattan paid for, like the rest of her needs, by her inheritance. But there is a dark and vacuous hole in her heart, and it isn't just the loss of her parents, or the way her Wall Street boyfriend treats her, or her sadomasochistic relationship with her best friend, Reva. It's the year 2000 in a city aglitter with wealth and possibility; what could be so terribly wrong? My Year of Rest and Relaxation is a powerful answer to that question. Through the story of a year spent under the influence of a truly mad combination of drugs designed to heal our heroine from her alienation from this world, Moshfegh shows us how reasonable, even necessary, alienation can be. Both tender and blackly funny, merciless and compassionate, it is a showcase for the gifts of one of our major writers working at the height of her powers. |
| ottessa moshfegh paris review: The Reluctant Fundamentalist Mohsin Hamid, 2009-06-05 From the author of the award-winning Moth Smoke comes a perspective on love, prejudice, and the war on terror that has never been seen in North American literature. At a café table in Lahore, a bearded Pakistani man converses with a suspicious, and possibly armed, American stranger. As dusk deepens to night, he begins the tale that has brought them to this fateful meeting. . . Changez is living an immigrant’s dream of America. At the top of his class at Princeton, he is snapped up by Underwood Samson, an elite firm that specializes in the “valuation” of companies ripe for acquisition. He thrives on the energy of New York and the intensity of his work, and his infatuation with regal Erica promises entrée into Manhattan society at the same exalted level once occupied by his own family back in Lahore. For a time, it seems as though nothing will stand in the way of Changez’s meteoric rise to personal and professional success. But in the wake of September 11, he finds his position in his adopted city suddenly overturned, and his budding relationship with Erica eclipsed by the reawakened ghosts of her past. And Changez’s own identity is in seismic shift as well, unearthing allegiances more fundamental than money, power, and perhaps even love. Elegant and compelling, Mohsin Hamid’s second novel is a devastating exploration of our divided and yet ultimately indivisible world. “Excuse me, sir, but may I be of assistance? Ah, I see I have alarmed you. Do not be frightened by my beard: I am a lover of America. I noticed that you were looking for something; more than looking, in fact you seemed to be on a mission, and since I am both a native of this city and a speaker of your language, I thought I might offer you my services as a bridge.” —from The Reluctant Fundamentalist |
| ottessa moshfegh paris review: New York 1, Tel Aviv 0 Shelly Oria, 2014-11-04 Enter the world of New York 1, Tel Aviv 0, where the characters are as intelligent and charming as they are lonely. A couple discovers the ability to stop time together; another couple lives with a constant loud beeping in their apartment, though only one of them can hear it. A father leaves his daughter in Israel to pursue a painting career in New York; a sex worker falls in love with the Israeli photographer who studies her. Together these stories explore the tension between an anonymous, globalized world and an irrepressible lust for connection—they form an intimate document of niche moments between characters who are so brilliantly, subtly, and magically rendered by Shelly Oria's capable hands. |
| ottessa moshfegh paris review: Safe as Houses Marie-Helene Bertino, 2012-10 The titular story revolves around an aging English professor who, mourning the loss of his wife, robs other people's homes of their sentimental knick-knacks. In Free Ham, a young dropout wins a ham after her house burns down and refuses to accept it. Has my ham done anything wrong? she asks when the grocery store manager demands that she claim it. In Carry Me Home, Sisters of Saint Joseph, a failed commercial writer moves into the basement of a convent and inadvertently discovers the secrets of the Sisters of Saint Joseph. A girl, hoping to talk her brother out of enlisting in the army, brings Bob Dylan home for Thanksgiving dinner in the quiet, dreamy North Of. In The Idea of Marcel, Emily, a conservative, elegant girl, has dinner with the idea of her ex-boyfriend, Marcel. In a night filled with baffling coincidences, including Marcel having dinner with his idea of Emily, she wonders why we tend to be more in love with ideas than with reality. In and out of the rooms of these gritty, whimsical stories roam troubled, funny people struggling to reconcile their circumstances to some kind of American Ideal and failing, over and over. |
| ottessa moshfegh paris review: Late Fame Arthur Schnitzler, 2017-08-08 A hilarious takedown of celebrity and false genius, never before available in the US. An NYRB Classics Original Eduard Saxberger is a quiet man who is getting on in years and has spent the better part of them working at a desk in an office. Once upon a time, however, he published a book of poetry, Wanderings, and one day when he returns from his usual walk he finds a young man waiting for him. “Are you,” he wants to know, “Saxberger the poet?” Is Saxberger Saxberger the poet? Was he ever a poet? A real poet? Saxberger hasn’t written a poem for years, but he begins to frequent the coffee shops of Vienna with his young admirer and his no less admiring circle of friends, and as he does he begins to yearn for a different life from the daily round followed by rounds of drinks and billiards with familiar buddies like Grossinger, the deli owner. And the ardent attentions of Fräulein Gasteiner, the tragedienne, are not entirely unwelcome. The Hope of Young Vienna is how the young artists style themselves, and they are arranging an event that will introduce them to the world. They insist that the distinguished author of Wanderings take part in it as well. Will he write something new for the occasion? Will he at last receive his due? Late Fame, an unpublished novella recently rediscovered in the papers of the great turn-of-the-century Austrian playwright and novelist Arthur Schnitzler, is a bittersweet parable of hope lost and found. |
| ottessa moshfegh paris review: Last Things Jenny Offill, 2015-03-17 Grace's father believes in science and builds his daughter a dollhouse with lights that really work. Grace's mother takes her skinny-dipping in the lake and teaches her about African hyena men who devour their wives in their sleep. Grace's world, of fact and fiction, marvels and madness, is slowly unraveling because her family is coming apart before her eyes. Now eight-year-old Grace must choose between her two very different, very flawed parents, a choice that will take her on a dizzying journey, away from her home in Vermont to the boozy, flooded streets of New Orleans--and into the equally wondrous and frightening realm of her own imagination. With eloquence and compassion, Jenny Offill weaves a luminous story of a wounded family and of a young girl yearning to understand the difference between fiction, fact, and hope. A novel of vibrant imagination and searing intelligence, Last Things is a stunning literary achievement. |
| ottessa moshfegh paris review: Dare to Know James Kennedy, 2021-09-14 “A voraciously readable page-turner of a novel.”—Cory Doctorow “A razor-smart sci-fi corporate noir nightmare. Dare to Know is what happens when Willy Loman sees through the Matrix.”—Daniel Kraus, co-author of The Shape of Water This mind-bending and emotional speculative thriller is set in a world where the exact moment of your death can be predicted—for a price. Our narrator is the most talented salesperson at Dare to Know, an enigmatic company that has developed the technology to predict anyone’s death down to the second. Divorced, estranged from his sons, and broke, he's driven to violate the cardinal rule of the business by forecasting his own death day. The problem: his prediction says he died twenty-three minutes ago. The only person who can confirm its accuracy is Julia, the woman he loved and lost during his rise up the ranks of Dare to Know. As he travels across the country to see her, he’s forced to confront his past, the choices he's made, and the terrifying truth about the company he works for. Wildly ambitious and highly immersive, this thought-provoking thriller explores the destructive power of knowledge and collapses the boundaries between reality, myth, and conspiracy as it races toward its shocking conclusion. “A voraciously readable page-turner of a novel, part creepypasta, part thought-experiment.”—Cory Doctorow, author of Little Brother and Radicalized |
| ottessa moshfegh paris review: Complete Collected Essays Victor Sawdon Pritchett, 1991 The essayist, critic, novelist, short story writer, and biographer presents 203 essays on such writers as Gibbon, Cervantes, Balzac, Flaubert, Woolf, Shaw, Twain, Garci+a7a Lorca, Updike, Rushdie, and others. - Google Books. |
| ottessa moshfegh paris review: Sharp Michelle Dean, 2018-04-10 A “deeply researched and uncommonly engrossing” book profiling ten trailblazing literary women, including Dorothy Parker and Joan Didion (Paris Review). In Sharp, Michelle Dean explores the lives of ten women of vastly different backgrounds and points of view who all made a significant contribution to the cultural and intellectual history of America. These women—Dorothy Parker, Rebecca West, Hannah Arendt, Mary McCarthy, Susan Sontag, Pauline Kael, Joan Didion, Nora Ephron, Renata Adler, and Janet Malcolm—are united by what Dean calls “sharpness,” the ability to cut to the quick with precision of thought and wit. Sharp is a vibrant depiction of the intellectual beau monde of twentieth-century New York, where gossip-filled parties gave out to literary slugging-matches in the pages of the Partisan Review or the New York Review of Books. It is also a passionate portrayal of how these women asserted themselves through their writing despite the extreme condescension of the male-dominated cultural establishment. Mixing biography, literary criticism, and cultural history, Sharp is a celebration of this group of extraordinary women, an engaging introduction to their works, and a testament to how anyone who feels powerless can claim the mantle of writer, and, perhaps, change the world. |
| ottessa moshfegh paris review: Early Work Andrew Martin, 2018-07-10 What a debut! Early Work is one of the wittiest, wisest (sometimes silliest, in the best sense), and bravest novels about wrestling with the early stages of life and love, of creative and destructive urges, I’ve read in a while. The angst of the young and reasonably comfortable isn’t always pretty, but Andrew Martin possesses the prose magic to make it hilarious, illuminating, moving. —Sam Lipsyte, author of The Ask and The Fun Parts For young writers of a certain temperament—if they haven’t had such notions beaten out of them by MFA programs and the Internet—the delusion persists that great writing must be sought in what W. B. Yeats once called the “foul rag and bone shop of the heart.” That’s where Peter Cunningham has been looking for inspiration for his novel—that is, when he isn’t teaching at the local women’s prison, walking his dog, getting high, and wondering whether it’s time to tie the knot with his college girlfriend, a medical student whose night shifts have become a standing rebuke to his own lack of direction. When Peter meets Leslie, a sexual adventurer taking a break from her fiancé, he gets a glimpse of what he wishes and imagines himself to be: a writer of talent and nerve. Her rag-and-bone shop may be as squalid as his own, but at least she knows her way around the shelves. Over the course of a Virginia summer, their charged, increasingly intimate friendship opens the door to difficult questions about love and literary ambition. With a keen irony reminiscent of Sam Lipsyte or Lorrie Moore, and a romantic streak as wide as Roberto Bolaño’s, Andrew Martin’s Early Work marks the debut of a writer as funny and attentive as any novelist of his generation. “Beautifully executed and very funny, Early Work is a sharp-eyed, sharp-voiced debut that I didn’t want to put down.” —Julia Pierpont, author of Among the Ten Thousand Things and The Little Book of Feminist Saints |
| ottessa moshfegh paris review: The Savage Detectives Reread David Kurnick, 2022-02-01 The Savage Detectives elicits mixed feelings. An instant classic in the Spanish-speaking world upon its 1998 publication, a critical and commercial smash on its 2007 translation into English, Roberto Bolaño’s novel has also been called an exercise in 1970s nostalgia, an escapist fantasy of a romanticized Latin America, and a publicity event propped up by the myth of the bad-boy artist. David Kurnick argues that the controversies surrounding Bolaño’s life and work have obscured his achievements—and that The Savage Detectives is still underappreciated for the subtlety and vitality of its portrait of collective life. Kurnick explores The Savage Detectives as an epic of social structure and its decomposition, a novel that restlessly moves between the big configurations—of states, continents, and generations—and the everyday stuff—parties, jobs, moods, sex, conversation—of which they’re made. For Kurnick, Bolaño’s book is a necromantic invocation of life in history, one that demands surrender as much as analysis. Kurnick alternates literary-critical arguments with explorations of the novel’s microclimates and neighborhoods—the little atmospheric zones where some of Bolaño’s most interesting rethinking of sexuality, politics, and literature takes place. He also claims that The Savage Detectives holds particular interest for U.S. readers: not because it panders to them but because it heralds the exhilarating prospect of a world in which American culture has lost its presumptive centrality. |
| ottessa moshfegh paris review: Light Years James Salter, 2011-02-09 A brilliant portrait of a marriage from the PEN/Faulkner Award-winner and author of A Sport and a Pastime, with an introduction by Richard Ford. “Light Years is a novel of almost holy radiance to me. It is great in every sense of the word: vast, and timeless, and enduring.”—Lauren Groff, bestselling author of Fates and Furies “Remarkable. An unexpectedly moving ode to beautiful lives frayed by time.”—James Wolcott, Esquire “[A] twentieth-century masterpiece. At once iridescent, lyrical, mystical and magnetic.”—Bloomsbury Review Nedra and Viri's favored life revolves around delightful dinners, imaginative games with their children, enviable friends, and idyllic days spent skating on a frozen river or basking in the sun on the beach. But even as Salter lingers over the surface of their marriage, he lets us see the fine cracks that are spreading through it, flaws that will eventually mar the lovely picture beyond repair. Seductive, witty, and elegantly nuanced, Light Years is a classic novel of an entire generation that discovered the limits of its own happiness—and then felt compelled to destroy it. |
| ottessa moshfegh paris review: The Recognitions William Gaddis, 2012-02-07 The book Jonathan Franzen dubbed the ur-text of postwar fiction and the first great cultural critique, which, even if Heller and Pynchon hadn't read it while composing Catch-22 and V., managed to anticipate the spirit of both”—The Recognitions is a masterwork about art and forgery, and the increasingly thin line between the counterfeit and the fake. Gaddis anticipates by almost half a century the crisis of reality that we currently face, where the real and the virtual are combining in alarming ways, and the sources of legitimacy and power are often obscure to us. |
| ottessa moshfegh paris review: The Journalist and the Murderer Janet Malcolm, 2011-06-22 Named one of the 100 Best Nonfiction Books by The Modern Library and The Guardian • With surgical precision, Janet Malcolm dissects the famous case of journalist Joe McGinniss and murderer Jeffrey MacDonald. A riveting exploration of the uneasy dynamic between writers and their subjects and a must-read for anyone intrigued by journalism, the complexities of human nature, and true crime Malcolm deftly analyzes the real-life lawsuit of Jeffrey MacDonald, a convicted murderer, against Joe McGinniss, the author of Fatal Vision. At the heart of this masterfully crafted narrative is McGinniss's controversial portrayal of MacDonald, a former Green Beret convicted of murdering his pregnant wife and two young daughters. While writing the true crime book Fatal Vision, McGinniss ingratiated himself with MacDonald under the guise of supporting his innocence, only to portray him as guilty in the final publication. The resulting libel case put McGinniss's methods on trial, sparking a gripping examination of the ethics governing the writer-subject covenant. Through probing interviews with the key players - the principals, their lawyers, members of the jury, and expert witnesses - Malcolm provides an atmospheric retelling of the sensational trial. But her true subject is the treacherous territory writers must navigate when trying to objectively chronicle the lives of others. With piercing self-awareness, Malcolm examines her own role and motivations, laying bare the inherent conflicts and power dynamics that arise when a journalist pursues a story. Her candid, rueful reflections transform a seemingly straightforward work of reportage into a profound exploration of journalistic ethics and the limits of factual truth. |
| ottessa moshfegh paris review: Suppose a Sentence Brian Dillon, 2020-08-18 An elegant work of literary criticism from the author of ESSAYISM. |
| ottessa moshfegh paris review: Happy are the Happy Yasmina Reza, 2014-07-03 1 novel. 18 people. 18 lives. Infinite combinations: families and friends, colleagues and patients, lovers and mourners... But sometimes a crowd is the loneliest place to be. An award-winning exploration of dreams and disillusionment, love and infidelity from the creator of global theatre sensation Art and God of Carnage. |
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The DIC plays a critical role in contributing to the continued stability of Trinidad and Tobago's financial system as a whole. Its main function is to manage a Fund to provide insurance …
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The Deposit Insurance Corporation (DIC) was established by the Central Bank and Financial Institutions (Non-Banking) (Amendment) Act, 1986. The DIC plays a contributory role to the …
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Deposit Insurance Corporation Trinidad and Tobago, Port of Spain, Trinidad and Tobago. 1,731 likes · 1 was here. The DIC plays a contributory role to the...
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The Deposit Insurance Corporation (DIC) is an institution established by the Central Bank and Financial Institutions (Non-Banking) (Amendment) Act, 1986. The DIC plays a critical role in …
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