THE TIKTOK SENSATION

Read THE razor-sharp satire that everyone is talking about...

On the surface ,our narrator has everything you could want in life. She's young, thin, pretty, a recent Columbia graduate and lives in an apartment on the Upper East Side of Manhattan paid for, like everything else, by her inheritance.

But there is a vacuum in her life and she's got the perfect solution. She's going to take a year under sedation to relax and hide away from the world.
What could possibly go wrong?

Blackly funny, merciless and compassionate, My Year of Rest and Relaxation, is the perfect read for fans of The Bell Jar by Sylvia Plath and The Seven Husbands of Evelyn Hugo by Taylor Jenkins Reid.

PRAISE FOR MY YEAR OF REST AND RELAXATION:

'The book that everyone is talking about' The Times

'Diamond-hard entertainment' Guardian

'Electrifying...compelling...Moshfegh's protagonist is an unlikely revolutionary' Vanity Fair

NAMED A MOST ANTICIPATED BOOK OF 2022 BY Guardian, Harper's Bazaar, The Times, New Statesman, Good Housekeeping & Daily Mail.

In a village in a medieval fiefdom buffeted by natural disasters, a motherless shepherd boy finds himself the unlikely pivot in a power struggle that puts all manner of faith to a savage test, in a spellbinding novel that represents Ottessa Moshfegh's most exciting leap yet

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 life's 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 for many of the village's children.

Ina's 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, Ina's home in the woods outside the village is a place to fear and to avoid, a godless place.

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 people's 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 lord's family, new and occult forces upset the old order. By year's end, the veil between blindness and sight, life and death, the natural world and the spirit world will prove to be very thin indeed.

*SHORTLISTED FOR THE MAN BOOKER PRIZE 2016*

Trapped between caring for her alcoholic father and her job as a secretary at the boys' prison, Eileen Dunlop dreams of escaping to the big city.

In the meantime, her nights and weekends are filled with shoplifting and cleaning up her increasingly deranged father's messes.

When the beautiful, charismatic Rebecca Saint John arrives on the scene as the new counsellor at the prison, Eileen is enchanted, unable to resist what appears to be a miraculously budding friendship. But soon, Eileen's affection for Rebecca pull her into a crime that far surpasses even her own wild imagination.

'Fully lives up to the hype. A taut psychological thriller, rippled with comedy as black as a raven's wing, Eileen is effortlessly stylish and compelling' The Times

*SHORTLISTED FOR THE CWA NEW BLOOD DAGGER AWARD 2016*

**SHORTLISTED FOR THE STAUNCH BOOK PRIZE 2020**

A triumphant blend of horror, suspense and pitch-black comedy, from the Booker-shortlisted author of Eileen and My Year of Rest and Relaxation

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 razor-sharp, chilling, and darkly hilarious novel, 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**

'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

Discover the blistering first novella from the from the Booker-shortlisted author of Eileen and My Year of Rest and Relaxation.

They said I've done something wrong?... And they've just left me down here to starve. Haven't had a drop in days more so...

Salem, Massachusetts, 1851: McGlue is in the hold, still too drunk to be sure of his name or situation or orientation – he may have killed a man. That man may have been his best friend. Now, McGlue wants one thing and one thing only: a drink. Because for McGlue, insufferable, terrifying memories accompany sobriety. Asail on the high seas of literary tradition, Ottessa Moshfegh gives us an unforgettable blackguard on a knife-sharp voyage through the fogs of recollection.

Los premiados relatos de la autora de Mi año de descanso y relajación, ganadora del Premio PEN/ Hemingway entre otros:
«Un cruce de los mejores cuentos que jamás escribirán Haruki Murakami y Lorrie Moore firmados por la mejor escritora norteamericana de su generación» (Rodrigo Fresán)

UNO DE LOS MEJORES LIBROS DE 2022 SEGÚN ELLE

«Las historias de Ottessa Moshfegh son como pequeñas joyas podridas, que brillan y traumatizan por igual, como solo puede hacerlo la mejor literatura. Moshfegh explora con macabro deleite todas las facetas oscuras y ridículas del ser humano, convenciéndonos con gran destreza de que son merecedoras de nuestra fascinación.»
Virginia Feito, autora de La señora March

«Probar sus frases es como entrar en contacto con una alambrada ligeramente electrificada, [...] como ver a alguien sonreír con la boca llena de sangre».
Dwight Garner, The New York Times

Hay algo siniestro y desconcertante que atraviesa los relatos de Ottessa Moshfegh, algo peligroso, fascinante y a veces irresistiblemente divertido. Sus personajes son seres inestables: anhelan un gesto de ternura y desean, a su manera, convertirse en mejores personas; aun así, todos parecen moverse guiados por los impulsos más primarios. Débiles, retorcidos, a menudo estúpidos y crueles consigo mismos y con los demás: de esta extraña materia prima Moshfegh consigue extirpar una belleza oscura y eléctrica y que, en ella, lo que veamos sea en realidad nuestro propio reflejo.

Nostalgia de otro mundo reúne sus mejores relatos, ganadores de los premios Pushcart, O. Henry o Plimpton Discovery Prize, con los que ha entrado a formar parte del universo literario de Flannery O’Connor o Angela Carter.

La crítica ha dicho...
«Ottessa Moshfegh es ya la next great thing de la literatura norteamericana. ¿Contrapartes en español? Sara Mesa, Mariana Enríquez o Elvira Navarro».
Rodrigo Fresán, Vanity Fair

«¿Podríamos hablar acaso de la réplica femenina a Donald Ray Pollock o de la doble americana, como ha apuntado Rodrigo Fresán, de Sara Mesa? Lo cierto es que, para Ottessa Moshfegh, la luz solo se enciende bajo el techo de la hostilidad, sin hacer distinciones entre espacios urbanos o rurales, entre jóvenes o ancianos, entre pobres o profesionales liberales [...]. Su estilo, pulido como un diamante encontrado en el estercolero de la decepción. Frase corta, realismo sucio y ritmo de una musicalidad dodecafónica: las palabras adquieren la melodía de una gota cayendo de un grifo mal cerrado, provocando una sensación de desasosiego en el lector que se acumula como en una inundación anunciada».
Sergi Sánchez, EPE

«Las historias de Nostalgia de otro mundo no son una experiencia amable, sino, más bien, un retorno áspero a los mitos infantiles: de niños (y adultos) perdidos y nunca hallados; de pozo de los deseos ya reseco, insensible a los sueños de unos personajes que parecen estar pavimentando, a la inversa que la lechera, caminos hacia el naufragio y

El «toque Moshfegh» se consagra con su tercera y arrasadora novela.
Una mezcla única de novela negra y humor macabro, tan inimitable como la propia autora.

«Ottessa Moshfegh es ya la next great thing de la literatura norteamericana. ¿Contrapartes en español? Sara Mesa, Mariana Enríquez o Elvira Navarro. Todas descendientes de hembras extrañas como Silvina Ocampo, Joy Williams y Sylvia Plath.»
Rodrigo Fresán, Vanity Fair

«Una escritora que, como Henry James o Vladimir Nabokov, está bendecida tanto con la genialidad como con la crueldad.»
The New Yorker

Mientras pasea a su perro por el bosque, Vesta Gul se topa con una nota manuscrita. «Se llamaba Magda. Nadie sabrá nunca quién la mató. No fui yo. Este es su cadáver.» Pero junto a la nota no hay ningún cadáver. Vesta Gul, que acaba de mudarse tras la muerte de su marido y no conoce a nadie en su nuevo hogar, no sabe muy bien qué hacer con esta información. Comienza a obsesionarse con la figura de Magda y a elucubrar con las diversas maneras en que pudieron asesinarla, si es que efectivamente ocurrió tal cosa. Su aislamiento la conduce a una serie de ideas que comienzan a encontrar un reflejo en la vida real. De un modo emocionante y terrorífico, las piezas parecen encajar: a encajar entre sí y con las zonas más oscuras de su propio pasado. Solo hay dos opciones para resolver este misterio: una explicación banal e inocente o una causa profundamente siniestra.

La crítica ha dicho...
«Moshfegh se ha tomado la molestia de estirar los bordes del género y entrar y salir de él con comodidad. En esta ocasión juega con habilidad con algunos tópicos de la novela clásica de misterio en una historia que habla también de los efectos de la soledad y el aislamiento. [...] Es una novela original de la que es mejor no decir mucho más.»
Juan Carlos Galindo, El País

«Moshfegh vuelve al noir para contar la historia de un crimen sin cadáver. Otra vuelta de tuerca al mundo de lo aparente.»
Laura Fernández, Vanity Fair

«Una obra de duelo y soledad que nos habla de la importancia de estar vivo. [...] Un engranaje metaliterario que deconstruye el género de razonamiento deductivo, lo retuerce y lo hace explotar desde dentro.»
Marta Marne, El Periódico

«Si buscas una novela negra que te atrape, esta es la tuya. La autora, siguiendo la estela magnética de las tramas de Agatha Christie, ha tejido una historia muy inquietante y, a ratos, casi cruel.»
Lídia Penelo, El Quinze

«A caballo entre la novela negra y la metaficción, [...] es fácil recomendar esta novela diciendo que no es la novela que esperas leer. Lo que aquí se ofrece es mucho.»
Sergio Saborido, Libros y Literatura

«Un viaje oscuro y divertido. [...