Her abject, pervy, excremental fictions carry a whiff of deviance and nihilism into a squeaky clean mainstream that comforts some while alienating others … While our era’s ruling cultural-literary tone decrees ‘It’s the end of the world-no laughing,’ Moshfegh’s stuff is comically weird, amoral and antisocial … Lapvona’s grotesque, shameless world shows us not how it used to be, but how it’s always been … it soon becomes clear that this plot, like the medieval setting, is secondary to the pulsing, quivering tissue of incident and carnality that it facilitates … Particularly in her morally neutral scenes of physical and sexual humiliation, Moshfegh seems to write from a shady confraternity that includes the Marquis de Sade, Georges Bataille and Angela Carter … In the past, Moshfegh has trollishly floated the notion that she might be a bit of a hack (she revealed that her acclaimed novel Eileen issued from an awful-sounding ‘Write a novel in 90 days’ programme), but Lapvona confirms that such ploys served the author’s deeper agenda of getting the weird shit in front of a mass audience. “There’s something encouraging, and perhaps telling, about Ottessa Moshfegh’s success.
This week’s feast of fabulous reviews includes Rob Doyle on Ottessa Moshfegh’s Lapvona, Katy Waldman on Tom Perrotta’s Tracy Flick Can’t Win, Johanna Thomas Corr on Lisa Taddeo’s Ghost Lover, Alexander Chee on Nicole Pasulka’s How You Get Famous, and Laura Miller on James Patterson’s James Patterson: The Stories of My Life.īrought to you by Book Marks, Lit Hub’s “Rotten Tomatoes for books.”
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