Strange Hotel
THE ANTICIPATED NEW NOVEL FROM THE WINNER OF THE BAILEYS WOMEN'S PRIZE FOR FICTION
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3.0 • 1 Rating
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- £5.49
Publisher Description
'McBride is on blistering form.' Sinéad Gleeson
At the mid-point of her life a woman enters an Avignon hotel room. She's been here once before - but while the room hasn't changed, she is a different person now.
Forever caught between check-in and check-out, she will go on to occupy other hotel rooms, from Prague to Oslo, Auckland to Austin, each as anonymous as the last, but bound by rules of her choosing. There, amid the detritus of her travels, the matchbooks, cigarettes, keys and room-service wine, she will negotiate with memory, with the men she sometimes meets, and with what it might mean to return home.
'Nothing else feels so fresh, so radically new. Strange Hotel challenges and expands my sense of what art can do.' Garth Greenwell
PUBLISHERS WEEKLY
McBride (A Girl Is a Half-Formed Thing) delivers a globe-spanning travelogue set entirely in hotel rooms in this beguiling work. Lists of cities section off the narrative; in those flagged by an x, the protagonist, an unnamed itinerant woman, has experienced a tryst. Rather than chronologically plot these encounters, McBride presents them as a runaway train of the woman's solipsistic thought as to their significance, leaving her at odds to draw conclusions. After rebuffing one man's advances, she returns to her room and falls asleep watching loud TV porn. Sex with one man pushes her into suicidal contemplation; sex with another cheers her enough to consider joining him for breakfast the following morning (she doesn't). In the final scene, McBride switches from third- to first-person narration, at which point the narrator reflects on how her past choices have "absented" her from herself. The linguistic prowess found in McBride's other books remains present, with the bravado slightly dialed down for emotional effect. McBride's nebulous formalist structure could be described as a long prose poem masquerading as a novel. As a narrative, though, it is a half-formed thing.
