- Hardcover: 272 pages
- Publisher: Penguin Press; First Edition edition (August 18, 2015)
- Language: English
- ISBN-10: 1594206627
- ISBN-13: 978-1594206627
- Product Dimensions: 5.8 x 0.9 x 8.6 inches
- Shipping Weight: 1.6 pounds (View shipping rates and policies)
- Average Customer Review: 531 customer reviews
- Amazon Best Sellers Rank: #37,297 in Books (See Top 100 in Books)
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Eileen: A Novel Hardcover – August 18, 2015
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“The great power of this book, which won the PEN/Hemingway debut fiction award last month, is that Eileen is never simply a literary gargoyle; she is painfully alive and human, and Ottessa Moshfegh writes her with a bravura wildness that allows flights of expressionistic fantasy to alternate with deadpan matter of factness…As an evocation of physical and psychological squalor, Eileen is original, courageous and masterful.” —The Guardian
“If Jim Thompson had married Patricia Highsmith – imagine that household – they might have conspired together to dream up something like Eileen. It’s blacker than black and cold as an icicle. It’s also brilliantly realised and horribly funny.” —John Banville
“[A] dark and unnerving debut.”—Publishers Weekly
“…It is in that gritty, claustrophobic atmosphere that Ms. Moshfegh’s talents are most apparent. This young writer already possesses a remarkably sighted view into the bleakest alleys of the psyche.” —Wall Street Journal
“Wonderfully unsettling first novel . . . When the denouement comes, it’s as shocking as it is thrilling. Part of the pleasure of the book (besides the almost killing tension) is that Eileen is mordantly funny . . . this tale belongs to both the past and future Eileen, a truly original character who is gloriously unlikable, dirty, startling — and as ferociously human as the novel that bears her name.”—San Francisco Chronicle
"Rife with dark emotions and twisted fantasies, Moshfegh's psychological thriller is the sinister account of the reclusive Eileen, whose prospects for escape from her abysmal life take a turn for the worse when a friendship with a coworker spirals into obsession."
“Eileen swaddles the reader in its dark and sinister mood. Moshfegh's brilliant storytelling builds an almost sadistic level of suspense, so that you can't help but lean in and listen to the narrator, however despicable and repulsive her confession becomes.”
—Sarah Hollenbeck, co-owner of Women & Children First bookstore, Chicago
“Eileen is a singular read, dark and funny and full of oft-queasy truths, ones that may at first seem strange and disturbing, but then are not so far away from our own internal thoughts. Eileen is quiet, awkward and lonely. As Christmas approaches, she is desperate to leave her alcoholic father, her dismal home life and her mind-numbing job at a boys’ correctional facility. Enter her glamorous “new friend” Rebecca and suddenly Eileen is set on a path towards inevitable change, a suspenseful ride to the end. Atmospheric, cinematic, and deliciously uncomfortably heartwarmingly pathetic in the best of ways.”
—Melinda Powers, Bookshop Santa Cruz (also sent in to Indie Next)
“Eileen is unlike anything I've read since, maybe, Patricia Highsmith: a wholly captivating look at a character you're drawn towards in a strange, inexplicable alliance and from whom you can't easily part. I find myself thinking about it still, months later, in the most unexpected ways. Mosfegh has a way with the kind of imagery that brings her world into terrible, precise emotional focus, and the book builds like a slow avalanche. What a pleasure to read!”
—Camden Avery, The Booksmith, San Francisco
Charmingly disturbing. Delightfully dour. Pleasingly perverse. These are some of the oxymorons that ran through my mind as I read Eileen, Ottessa Moshfegh's intense, flavorful, remarkable new novel. "Funny awful" might be another one. I marveled at myself for enjoying the scenes I was witnessing, and wondered what dark magic the author had employed to make me smile at them. – NPR.ORG
“Tempting plot machinations aside, you should be reading Moshfegh because she writes incredible sentences, the kind that build and build to create a warped momentum you can’t brake. They create a harsh, blackly humorous world, like Mary Gaitskill, but less grave and with more jokes.”- Gawker
“Like The Woman Upstairs and Notes on a Scandal, Eileen turns on the symbiotic relationship between love and hate, hope and delusion, and — for the reader — repulsion and absolute absorption.”- New York Magazine
“The climax of "Eileen" is bizarre, creepy and oddly satisfying. This novel does not fit neatly into a single genre. Its protagonist is unlikable but fascinating, and ultimately sympathetic. It is a masterly psychological drama that lingers, with a disquieting effect, in the reader's mind.” - Newsday
“The attention that is now greeting Moshfegh’s first novel is not undeserved. “Eileen” is a remarkable piece of writing, always dark and surprising, sometimes ugly and occasionally hilarious. Its first-person narrator is one of the strangest, most messed-up, most pathetic — and yet, in her own inimitable way, endearing — misfits I’ve encountered in fiction. Trust me, you have never read anything remotely like “Eileen.” -Washington Post
““Eileen is anything but generic. Eileen is as vivid and human as they come . . . Moshfegh, whose novella, “McGlue,” was published last year, writes beautiful sentences. One after the other they unwind — playful, shocking, wise, morbid, witty, searingly sharp. The ¬beginning of this novel is so impressive, so controlled yet whimsical, fresh and thrilling, you feel she can do anything . . . There is that wonderful tension between wanting to slow down and bathe in the language and imagery, and the impulse to race to see what happens, how it happens.” - The New York Times Book Review
“Her best work yet . . . What makes Moshfegh an important writer — and I'd even say crucial — is that she is unlike any other author (male, female, Iranian, American, etc.). And this sui generis quality is cemented by the singular savage suburban noir of "Eileen." She tries relentlessly to pull you away and out, not unlike her own self-destructive characters, who seem a bit addicted to their own repulsiveness. Moshfegh's palettes are big and small, fictional realms that are often vague in a way that makes them allegorical almost, universal in their blurriness and yet at the same time meticulously rendered with specific details. And she often does this with little attention to theme. Her fiction offers a sense that is of our world but also altogether hostile to clear distillation of it. Here is art that manages to reject artifice and yet be something wholly new and itself in sheer artistry.” - The Los Angeles Times
“The young heroine—if you can call her that—of Ottessa Moshfegh’s chilling debut is exactly the kind of woman whom noir authors tended to summarily ignore. Think of her as a Flannery O’Connor character wandering around a Raymond Chandler novel . . . Moshfegh uses that carefully constructed foundation to build a truly shocking ending, one you’ll never see coming. It’s hard to believe she’s a first-time novelist, so skillfully has she grafted disparate genre elements onto one another: psychological suspense, horror, obsession, and madness. Eileen is as twisted, dark, and unexpected as its title character.” - Entertainment Weekly
“excellent debut novel . . . How will Eileen get out of X-ville? Can she leave unscathed? Why does she keep talking about her father’s gun? Though readers will thoroughly delight in the way the answers unfold, they will be left with one lingering question: What will Ottessa Moshfegh do next?” - Boston Globe
“In this masterful feat of suspense writing, she captures the distortions and complicities that poison families.”- BBC.com
“Eileen is a highbrow noir that introduces Ottessa Moshfegh as a talent to look out for.” - Bustle
“If Shirley Jackson and Mary Gaitskill had a literary daughter, it might be Ottessa Moshfegh, whose unnerving debut is sure to garner attention.” -Bookpage
“Enormously entertaining and funny . . . A beautiful novel that tells the truth.”- Bookforum
“Literary psychological suspense at its best.”- Booklist (starred review)
“A woman recalls her mysterious escape from home in this taut, controlled noir about broken families and their proximity to violence…. The narrative masterfully taunts…. The release, when it comes, registers a genuine shock. And Moshfegh has such a fine command of language and her character that you can miss just how inside out Eileen's life becomes in the course of the novel, the way the "loud, rabid inner circuitry of my mind" overtakes her. Is she inhumane or self-empowered? Deeply unreliable or justifiably jaded? Moshfegh keeps all options on the table…. A shadowy and superbly told story of how inner turmoil morphs into outer chaos.”- Kirkus Reviews (starred review)
About the Author
Ottessa Moshfegh is a fiction writer from New England. Her first book, McGlue, a novella, won the Fence Modern Prize in Prose and the Believer Book Award. Her short stories have been published in The Paris Review, The New Yorker, Granta, and have earned her a Pushcart Prize, an O. Henry Award, the Plimpton Discovery Prize, and a grant from the National Endowment for the Arts. Her short story collection, Homesick for Another World, was published in January 2017. Eileen, her first novel, was shortlisted for the National Book Critics Circle Award, won the PEN/Hemingway Award for debut fiction, and was shortlisted for the Man Booker Prize.
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Let me start with what I liked about the book. Number 1-Eileen's character and voice. She's dark and brutal and, in her own way, honest. There are too few female protagonists out there that talk about their bathroom habits or masturbatory fantasies or violent desires in such a straight forward, unabashed way as Eileen does. She feels so authentic, even if much of what she says can't be taken at face value. All in all, I loved this character. Number 2-The town of X-ville. Moshfegh creates a dark little corner of America reminiscent of one Shirley Jackson might have imagined. With, at least imaginatively, the boys prison at its center, X-ville radiates a sad, tragic kind of provincialism that makes the reader feel for Eileen and her sense of claustrophobia. And Moshfegh makes it clear that for all its smallness and casual cruelties, Eileen still has a kind of love for the place, much like, despite the wretchedness of her father, she can't help but love him too, even as she thinks about killing him. Her desire to leave but inability to do so create the primary conflict of the first half of the book.
Ok, my main problem with the story is its length. Not that it's a long book, but the entire first half of the book merely serves Eileen's voice. Yes, It introduces her character, situation and home, but that could all be cut down to less than fifty pages (perhaps far less). To me, it felt that the author, in her pure joy of writing Eileen's voice, luxuriated in and indulged that pleasure far too long while striving to find her plot. She almost gets away with it (or, in many people's opinion, does get away with it) because the voice is so compelling. My other issue, which I think stems from the first, is that I felt, as I just mentioned, that I could feel the author searching for her plot. As if Moshfegh knew she wanted to get Eileen out of X-ville, but didn't figure out how to accomplish this until half way through the novel. Then she introduces Rebecca and this very odd plot twist (which I liked) that comes out of the blue. In my very humble opinion, I think that the author, once she discovered Rebecca and her usefulness, could have gone back and streamlined the first half of the story, cutting about 100 pages. This sense of groping also came through in Moshfegh's instance on pointing the reader's attention to certain objects throughout the novel. For instance, she refers to icicles over and over again, imagining them as murderous and threatening. I said to my wife about 1/3 of the way through that something better happen with these icicles, or I'd be pissed. Well, something does, but it's minor and feels like an afterthought. She does the same thing with the car and its exhaust issues, though this gets more consequentially used.
So, all that's to say I thoroughly enjoyed Moshfegh's writing. She crafts a compelling character that fascinates and disturbs at the same time. However, it takes over half the book for the plot to actually kick in, which, for me, meant too little tension in the first part of the book. All though she has Eileen constantly assuring the reader that consequential happenings wait just around the corner, I became impatient, feeling that the character's repeated "little did I know this would be my last Christmas in x-ville" acted as stand ins for actual suspense. When the plot does kick in, its pace picks up and I did find the conclusion, for the most part, satisfying. I would recommend giving the book a read, if for no other reason than the quality of the writing and the uniqueness of the character's voice. I'm for more character's like this in fiction. (less)
Freud would have a field day with this woman.
Eileen is in her early twenties and basically has no life. She's mousy and miserable and lives in a small town in New England taking care of her alcoholic, mentally deranged father who detests her. Her life may be dreary and hapless but she's more alive then most people. This creepy, lonely girl with her sad broken car and sad broken life will keep coming at you like a reeling bee at a picnic. She's not a pleasure to be around. She's a wan, toxic, self-absorbed misfit. However she's also riveting and oddly entertaining and before you know it you'll be sucked into her bizarre life of booze and stolen lipstick and deadly dripping icicles. When she eventually encounters a dazzling and beguiling woman named Rebecca at the correctional facility where she works her whole world flips upside-down and the book grows truly treacherous. Eileen becomes obsessed with the brazen and ravishing Rebecca who seems to actually notice her, possibly even admire her, and all at once she feels electrified and rejuvenated. She struts out into the glittering black night like an impetuous teenager. She gets back in her ailing car and Moshfegh (with a devious grin I imagine) grabs the plot and spins it like a frisbee.
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