Orlanda
A bewitching fable from the author of TikTok sensation I Who Have Never Known Men
-
- CHF 10.00
-
- CHF 10.00
Beschreibung des Verlags
'THE ’90S GENDER SWAP NOVEL YOU NEED TO READ NOW' (NEW YORK TIMES), FROM THE AUTHOR OF I WHO HAVE NEVER KNOWN MEN
There’s a voice in Aline’s head: a voice that wants out.
Brash, boisterous and sexually adventurous, this voice seems to be the antithesis of Aline, a prim literature professor for whom each day promises to be as quiet and conventional as the last.
That is until, after thirty-five years of imprisonment, her alter ego breaks free.
Taking on a life of his own, Orlanda – Aline’s second self – slips into the taut, rugged body of a young man. As Aline continues unaware, Orlanda follows, dragging gleeful chaos in his wake, vowing to leave both their existences forever altered.
A bewitching fable, an androgynous dream, Orlanda is one woman’s reckoning with all the hidden sides of her soul.
---
READER REVIEWS - JOIN THE ORLANDA OBSESSION:
'Hilarious, life affirming, haunting…truly perfect in prose, plot, and concept. Just wow'
'A powerful novel, witty, wicked and teasing'
'It’s the perfect book'
'This is the second book I've read by her and it's another masterpiece'
'Reading this has confirmed Jacqueline Harpman as one of my favourite writers I’ve ever encountered'
PUBLISHERS WEEKLY
A twisting, teasing exploration of sexuality, inner motives and desires, this new work by Belgian novelist and psychoanalyst Harpman (I Who Have Never Known Men), winner of the Prix M dicis, fugues on a body-switching theme in limpid, postmodern prose. On a springtime Friday afternoon in Paris, Aline Berger, a 35-year-old professor of literature, waits for her train home to Brussels, thumbing impatiently through Virginia Woolf's Orlando. Then, abruptly, Orlanda materializes. Called forth by some literary magic, she is Aline's exuberant and adventurous alter ego, born of Aline's 12-year-old tomboy spirit. Fettered far too long by the adult Aline's demure propriety, Orlanda spots a receptive external host in Lucien Lefr ne, a luscious, faintly unsavory, blond 20-year-old youth sitting quietly nearby. Thus begins a labyrinthine ride along converging and diverging paths of sexual and personal identity. Aline and Lucien return to their respective homes and partners in Brussels, but with Orlanda on the loose, life cannot continue as usual. Embodying Orlanda's unleashed appetite for freedom and sex, Lucien sheds responsibilities to family and friends and seeks new excitement with older, wealthy male lovers. While Orlanda gleefully cavorts in Lucien's body, Aline subconsciously senses that something is amiss. It is only when Orlanda/Lucien comes to find her that she understands what has been expunged from her personality. Like lost lovers, Orlanda and Aline are physically separated but emotionally intertwined, each needing the other to survive. Their fumbling progress back toward each other culminates in a disappointingly predictable clash between the double personalities. Still, drawing on wide-ranging literary references from Tristan und Isolde to Proust, Harpman cleverly manipulates an elusive narrative "I" and shifting perspectives in cool, insouciant, yet seductive style, to attack the well-worn existentialist query, "Who am I?"
