Lapvona
The unmissable Sunday Times Bestseller from the Booker Prize-shortlisted author of Eileen
-
-
1,0 • 1 classificação
-
-
- 8,99 €
Descrição da editora
Welcome to Lapvona. In a village in a medieval fiefdom buffeted by natural disasters, a motherless shepherd boy finds himself at the centre of a power struggle that puts all manner of faith to a savage test . . .
Discover the Sunday Times bestselling novel from the author of TikTok sensation My Year of Rest and Relaxation.
'One of the most provocative reads of the year'
i NEWSPAPER
'Disturbingly funny'
OBSERVER, BOOKS OF THE YEAR
'An addictive read . . . with a chequered cast of misfits, despots and unholy souls'
THE FACE
'One of America's most exciting - and most provocative - young novelists'
FINANCIAL TIMES
'Lapvona deserves all the hype it's received and more'
i-D
'Brace yourselves'
STYLIST
PUBLISHERS WEEKLY
Moshfegh's deliriously quirky medieval tale (after Death in Her Hands) revolves around a disabled shepherd boy's test of faith. Marek, 13, is abused by his father and raised by Ina, a midwife and witch who once nursed him as an infant. Still, Marek possesses a childlike faith in God. He'll need it. All is not well in the fiefdom of Lapvona: a plague ravages the people, a drought sours the earth, starvation spreads, and high atop a hill overlooking the village sits greedy Lord Villiam, a man who "believe that his appetite nothing but a physical symptom of his greatness" and consequently hoards all the food. Down below, Ina trades villagers psychedelic mushrooms for bread and eggs, and the mushrooms give people alternately visions of heaven and hell, either a respite from or an enhancement of the daily nightmare wrought on them by Villiam. Moshfegh's picture of medieval cruelty includes unsparing accounts of torture, rape, cannibalism, and witchcraft, and as Marek grapples with the pervasive brutality and whether remaining pure of heart is worth the trouble—or is even possible—the narrative tosses readers through a series of dizzying reversals. Throughout, Moshfegh brings her trademark fascination with the grotesque to depictions of the pandemic, inequality, and governmental corruption, making them feel both uncanny and all too familiar. It's a triumph.
