Dans « Élévation », Ottessa Moshfegh brosse le portrait d'une jeune professeure aux habitudes révoltantes et, dans « Monsieur Wu », celui d'un vieux voyeur esseulé qui prend son courage à deux mains pour aborder la femme nichée au creux de ses fantasmes. « Un meilleur endroit » met en scène une petite fille convaincue qu'elle vient d'un autre monde et qu'elle doit tuer la bonne personne pour pouvoir y retourner...
Les héros des nouvelles subversives et implacables rassemblées dans Nostalgie d'un autre monde ont tous un point commun : ils ont pris un mauvais virage. Instables, pétris de défauts et d'incertitudes, ils expérimentent le désir, l'obsession, la solitude, l'amour et l'échec, tout en aspirant à se reconnecter au monde qui les entoure.L'écrivaine américaine confirme son talent d'observatrice de nos modes de vie contemporains, de la solitude et de la mélancolie qui en découlent. Lire.Une réflexion abrupte sur le vide de notre condition humaine. Les Échos.Nouvelles traduites de l'anglais (États-Unis) par Clément Baude.
« J'avais commencé à «hiberner» tant bien que mal à la mi-juin de l'an 2000. J'avais vingt-six ans. Très vite, j'ai pris des cachets à haute dose et je dormais jour et nuit, avec des pauses de deux à trois heures. Je trouvais ça bien. Je faisais enfin quelque chose qui comptait vraiment. Le sommeil me semblait productif. ».
Jeune, belle, riche, fraîchement diplômée de l'université de Columbia, la narratrice de ce roman décide de tout plaquer pour entamer une longue hibernation en s'assommant de somnifères. Avec les tribulations de cette Oblomov de la génération Y qui somnole d'un bout à l'autre du récit, Ottessa Moshfegh s'attaque à sa manière, lucide et pleine d'humour, aux travers de son temps.
Une femme se souvient avec un cynisme minutieux de la semaine qui a fait basculer sa vie cinquante ans plus tôt. En 1964, alors âgée de vingt-quatre ans, elle vit avec son père alcoolique dans une maison délabrée, près de Boston, et travaille comme agent d'accueil dans une prison pour délinquants mineurs. Elle subit cette existence sinistre avec un mélange d'impuissance, de colère et de haine - contre elle-même surtout. L'arrivée d'une fascinante jeune femme fraîche émoulue de Harvard et chargée de mission auprès des détenus joue un rôle de détonateur.Un roman à la construction rigoureuse et à l'écriture incisive, où la tension devient peu à peu insoutenable.Une magistrale étude de caractère, marquée par la soif de liberté, la cruauté et la revanche sociale. Macha Séry, Le Monde des livres.Un compte à rebours orchestré de main de maître. Laetitia Favro, Le Journal du dimanche.Prix PEN/Hemingway Award et finaliste du Man Booker Prize.Traduit de l'anglais (États-Unis) par Françoise du Sorbier.
Par l'une des voix les plus originales et provocatrices de la littérature contemporaine, un polar métaphysique au suspense obsédant dans lequel la vie d'une veuve bascule le jour où, se promenant dans les bois, elle découvre un message extrêmement inquiétant.
Au lever du soleil, alors qu'elle promène son chien dans la forêt, Vesta tombe sur un message écrit à la main, délicatement maintenu au sol par quelques cailloux. « Elle s'appelait Magda. Personne ne saura jamais qui l'a tuée. Ce n'est pas moi. Voici son cadavre. » Autour d'elle, pas de tache de sang, pas d'écharpe abandonnée : nulle trace d'un crime. Vesta n'a bientôt plus qu'une obsession : résoudre ce mystère. Qui était Magda ? Que lui est-il arrivé ? Et qui l'a tuée ? Avec le peu d'indices dont elle dispose, Vesta dresse une liste des suspects et de leurs mobiles. À mesure que son enquête avance, les dissonances bizarres s'accumulent, peut-être liées aux zones d'ombre de son propre passé... Mélange singulier de polar et de comédie grinçante, le nouveau roman d'Ottessa Moshfegh met en scène une chasse au criminel enfiévrée où l'on ne sait bientôt plus très bien qui est le chasseur et qui est la proie, et livre une oeuvre magistrale sur les écueils de la solitude.
A shocking, hilarious and strangely tender novel about a young woman's experiment in narcotic hibernation, aided and abetted by one of the worst psychiatrists in the annals of literature. Our narrator has many of the advantages of life. Young, thin, pretty, a recent Columbia graduate, she lives in an apartment on the Upper East Side of Manhattan paid for, like everything else, by her inheritance.
From the Booker-shortlisted author of Eileen, a novel of haunting metaphysical suspense While on her daily walk with her dog in the nearby woods, our protagonist comes across a note, handwritten and carefully pinned to the ground with stones. Her name was Magda. Nobody will ever know who killed her. It wasn''t me. Here is her dead body. Shaky even on her best days, she is also alone, and new to this area, having moved here from her long-time home after the death of her husband, and now deeply alarmed. Her brooding about the note grows quickly into a full-blown obsession, as she explores multiple theories about who Magda was and how she met her fate. Her suppositions begin to find echoes in the real world, and the fog of mystery starts to form into a concrete and menacing shape. But is there either a more innocent explanation for all this, or a much more sinister one - one that strikes closer to home? In this triumphant blend of horror, suspense, and pitch-black comedy, we must decide whether the stories we tell ourselves guide us closer to the truth or keep us further from it. **AN EVENING STANDARD BEST BOOK TO LOOK FORWARD TO IN 2020**
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. What makes these stories so moving is the emotional balance that Moshfegh achieves - the way she exposes the limitless range of self-deception that human beings can employ while, at the same time, infusing the grotesque and outrageous with tenderness and compassion. 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.
B>In a village in a medieval fiefdom buffeted by natural disasters, a motherless shepherd boy finds himself the unlikely pivot of a power struggle that puts all manner of faith to a savage test, in a spellbinding novel that represents Ottessa Moshfeghs most exciting leap yet/b>br>br>Little Marek, the abused and delusional son of the village shepherd, never knew his mother; his father told him she died in childbirth. One of lifes few consolations for Marek is his enduring bond with the blind village midwife, Ina, who suckled him when he was a baby, as she did so many of the villages children. Inas gifts extend beyond childcare: she possesses a unique ability to communicate with the natural world. Her gift often brings her the transmission of sacred knowledge on levels far beyond those available to other villagers, however religious they might be. For some people, Inas home in the woods outside of the village is a place to fear and to avoid, a godless place.;br>;br>;;;;Among their number is Father Barnabas, the town priest and lackey for the depraved lord and governor, Villiam, whose hilltop manor contains a secret embarrassment of riches. The peoples desperate need to believe that there are powers that be who have their best interests at heart is put to a cruel test by Villiam and the priest, especially in this year of record drought and famine.;But when fate brings Marek into violent proximity to the lords family, new and occult forces upset the old order. By years end, the veil between blindness and sight, life and death, the natural world and the spirit world, will prove to be very thin indeed.
From one of our most ceaselessly provocative literary talents, a novel of haunting metaphysical suspense about an elderly widow whose life is upturned when she finds a cryptic note on a walk in the woods that ultimately makes her question everything about her new home While on her normal daily walk with her dog in the nearby forest woods, our protagonist comes across a note, handwritten and carefully pinned to the ground with a frame of stones. Her name was Magda. Nobody will ever know who killed her. It wasn't me. Here is her dead body. Our narrator is deeply shaken; she has no idea what to make of this. She is new to this area, having moved here from her longtime home after the death of her husband, and she knows very few people. And she's a little shaky even on her best days. Her brooding about this note quickly grows into a full-blown obsession, and she begins to devote herself to exploring the possibilities of her conjectures about who this woman was and how she met her fate. Her suppositions begin to find echoes in the real world, and with mounting excitement and dread, the fog of mystery starts to form into a concrete and menacing shape. But as we follow her in her investigation, strange dissonances start to accrue, and our faith in her grip on reality weakens, until finally, just as she seems to be facing some of the darkness in her own past with her late husband, we are forced to face the prospect that there is either a more innocent explanation for all this or a much more sinister one--one that strikes closer to home. A triumphant blend of horror, suspense, and pitch-black comedy, Death in Her Hands asks us to consider how the stories we tell ourselves both guide us closer to the truth and keep us at bay from it. Once again, we are in the hands of a narrator whose unreliability is well earned, only this time the stakes have never been higher.
Entertainment Weeklys #1 Book of 2018 A New York Times Notable Book and Times Critics' Top Books of 2018 The New York Times bestseller. 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. Named a Best Book of the Year by: The Washington Post, Time, NPR, Amazon ,Vice, Bustle , The New York Times , The Guardian , Kirkus Reviews , Entertainment Weekly , The AV Club, & Audible
A New York Times Book Review Notable Book of 2017 An electrifying first collection from one of the most exciting short story writers of our time "I cant recall the last time I laughed this hard at a book. Simultaneously, Im shocked and scandalized. Shes brilliant, this young woman."--David Sedaris Ottessa Moshfegh's debut novel Eileen was one of the literary events of 2015. Garlanded with critical acclaim, it was named a book of the year by The Washington Post and the San Francisco Chronicle , nominated for a National Book Critics Circle Award, short-listed for the Man Booker Prize, and won the PEN/Hemingway Award for debut fiction. But as many critics noted, Moshfegh is particularly held in awe for her short stories. Homesick for Another World is the rare case where an author's short story collection is if anything more anticipated than her novel. And for good reason. There's something eerily unsettling about Ottessa Moshfegh's stories, something almost dangerous, while also being delightful, and even laugh-out-loud funny. Her characters are all unsteady on their feet in one way or another; they all yearn for connection and betterment, though each in very different ways, but they are often tripped up by their own baser impulses and existential insecurities. Homesick for Another World is a master class in the varieties of self-deception across the gamut of individuals representing the human condition. But part of the unique quality of her voice, the echt Moshfeghian experience, is the way the grotesque and the outrageous are infused with tenderness and compassion. Moshfegh is our Flannery O'Connor, and Homesick for Another World is her Everything That Rises Must Converge or A Good Man is Hard to Find . 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 powerfully invigorating. We're in the hands of an author with a big mind, a big heart, blazing chops, and a political acuity that is needle-sharp. The needle hits the vein before we even feel the prick.