Cursed Bread
Longlisted for the Women’s Prize
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- 10,99 €
Beschreibung des Verlags
GRANTA BEST OF YOUNG BRITISH NOVELISTS
LONGLISTED FOR THE WOMEN'S PRIZE 2023
LONGLISTED FOR THE NOTA BENE PRIZE 2024
From the Booker Prize-nominated author of The Water Cure comes a chilling new feminist fable based on the true story of an unsolved mystery . . .
'A shimmering fever-dream of a novel' Telegraph
Spring, 1951. Four people meet in a small French town: the baker and his wife; the ambassador and his wife. Two belong to the town, two are outsiders.
Some time later, strange things start happening. Horses drop dead in the fields. Children grow wild and unbiddable. Ghosts are sighted after dark. Someone is playing a dangerous game of cat and mouse – but who is the predator and who their prey?
Audacious and mesmerizing, Cursed Bread is a darkly erotic mystery about a town gripped by madness, envy like poison in the blood, and desire that burns and consumes.
'A dreamy sapphic romp' The Times
'Gauzy [and] gripping, a quietly rich maturation of Mackintosh's skill' Guardian
The Spectator Book of the Year 2023
PUBLISHERS WEEKLY
In the intense but muddled latest from Mackintosh (Cursed Bread), a pent-up woman falls for a set of newcomers to her remote French village a few years after WWII. The narrator, 30-something Elodie, anachronistically calls herself "matron-adjacent" compared to the younger sexed-up Violet, who arrives with her unnamed husband. Elodie's husband, a baker, won't have sex with her, and her longing is heightened after a party when she overhears Violet's husband tell her "I know you want to fuck him" (about Elodie's husband), and "If you eat the bread, you'll die." The idea of another woman wanting Elodie's husband excites her, as does the virility of Violet's own husband, and before it's all over, Elodie comes close to sleeping with both. Along the way, she exchanges gossip with neighbors, and flash-forwards anticipate a wave of madness and deaths in the town. An author's note alludes to inspiration from a mass poisoning in 1951 Pont-Sant-Esprit, but Mackintosh's account remains gauzy; though the cause of the deaths is revealed at the end, big questions remain, including whether Violet and her husband are figments of Elodie's imagination. Though evocative at first, the riffs on desire grow repetitive and fail to illuminate the material. This is a misfire.
