My Year of Rest and Relaxation

A novel

“Darkly comic and ultimately profound new novel. . . Moshfegh’s extraordinary prose soars as it captures her character’s re-engagement.” —
New York Times Book Review


“The bravado in Moshfegh’s comprehensive darkness makes her novels both very funny and weirdly exhilarating . . . As in 
Eileen, Moshfegh excels here at setting up an immediately intriguing character and situation, then amplifying the freakishness to the point that some rupture feels inevitable. Her confidence never flags; hers are the novels of a writer invigoratingly immune to uncertainty and self-doubt.” —

My Year of Rest and Relaxation is a strange, exhilarating triumph . . . Moshfegh writes with a singular wit and clarity that, on its own, would be more than enough. (Her 2015 debut, 
Eileen, was shortlisted for the Man Booker Prize, and Rest has already been optioned for film by Australian actress Margot Robbie). But the cumulative power of her narrative—and the sharp turn she takes in its last 30 pages—becomes nothing less than a revelation: sad, funny, astonishing, and unforgettable.”
—Entertainment Weekly

“Ottessa Moshfegh is easily the most interesting contemporary American writer on the subject of being alive when being alive feels terrible. She has a freaky and pure way of accessing existential alienation, as if her mind were tapped directly into the sap of some gnarled, secret tree . . . Watching Moshfegh turn her withering attention to the gleaming absurdities of pre-9/11 New York City, an environment where everyone except the narrator seems beset with delusional optimism, horrifically carefree, feels like eating bright, slick candy—candy that might also poison you.” —
The New Yorker

“Ingenious, darkly comedic . . . . The novel speeds to the best last page of any book I’ve likely ever read . . .
My Year of Rest and Relaxation could easily swing into a memory-bending thriller, or a dark odyssey into the dangers of the pharmaceutical industry — but instead Moshfegh anchors it to her premise of a girl who’s simply, truly, lost — a perfect portrait of someone who desperately wants to be asleep, in order to finally feel awake." —

“This book isn’t just buzzy and maniacally entertaining—it’s a mean-spirited, tenderhearted masterpiece.” —
New York Post


“’My Year of Rest and Relaxation’ is the most poignant, vulnerable, mature, and—dare I say it?—sincere work that its gifted author has yet produced.” —
Boston Globe

“In flat, deadpan, unembellished prose recalling the cadences of Joan Didion and the clear-eyed candor of Mary Gaitskill, Moshfegh portrays the vacuous interior life (she has virtually no exterior life) of a narcissistic personality simultaneously self-loathing and self-displaying . . .
My Year of Rest and Relaxation is laced with blackly comic interludes. Though passive to the point of virtual catatonia, the narrator can’t avoid interacting with a very few other people who include a “lover” named Trevor of such astounding sexist oafishness he might have stepped out of one of the more fatuous episodes of 
Sex and the City: “I interpreted Trevor’s sadism as a satire of actual sadism.” Even funnier than Trevor is a radiantly nutty therapist named Tuttle who prescribes drugs extravagantly, promiscuously, and unquestioningly, prattling away in a unique psychobabble . . . Yet 
My Year of Rest and Relaxation is most convincing as an urbane dark comedy, sharp-eyed satire leavened by passages of morbid sobriety, as in a perverse fusion of 
Sex and the City and 
Requiem for a Dream.” —
New York Review of Books

“A darkly comic yet penetrating story about pain, destruction, and human connection . . . Moshfegh's piercing prose strips away any of the romanticism of this kind of hibernation, and the further readers (or at least, this reader) go down the young woman's determined path to let go, the tighter they will feel themselves holding onto their own realities and, more specifically, everyone they love in it.” —

“Rest And Relaxation' Is As Sharp As Its Heroine Is Bleary . . . bizarrely fascinating . . . Moshfegh knows how to spin perversity and provocation into fascination, and bleakness into surprising tenderness.” —

“One of the pleasures of reading Ottessa Moshfegh is that – unusually, these days – she rarely writes in the present tense. Instead, the sense of immediacy, the sense of being inside a character, the sense of things happening and having psychic value, both to the writer and her reader, is provided by the structure and content of her sentences. Matter of fact, full of bravado yet always wryly observational, these stack up steadily to construct the brisk interior landscape of her third novel,
My Year of Rest and Relaxation . . . One of the other pleasures of reading Moshfegh is her relentless savagery. All this is delivered as comic – it is comic – but it’s not exactly funny, though of course we laugh.” —

“Because this is a novel by the superabundantly talented Moshfegh — she’s an American writer of Croatian and Iranian descent with a name like that of an avant-garde London restaurant — we know in advance that it will be cool, strange, aloof and disciplined. The sentences will be snipped as if the writer has an extra row of teeth . . . Moshfegh is an inspired literary witch doctor. She invents many of the drugs her heroine ingests, the way Don DeLillo invented Dylar, to placate the fear of death, in ‘White Noise.’ These have serio-comic names like Valdignore and Prognosticrone and Maxiphenphen and Silencior. There was a joke at Rolling Stone magazine that if the drugs ran out at a party, one could find Hunter S. Thompson and suck on him. Depressives without prescriptions could lick Moshfegh’s heroine’s elbow . . . If she’s on downers, the prose in “My Year of Rest and Relaxation” is mostly on uppers. Like its narrator, this is a remorseless little machine. Moshfegh’s sentences are piercing and vixenish, each one a kind of orphan. She plays interestingly with substance and illusion, with dread and solace on the installment plan. This book builds subtly toward the events of Sept. 11 . . . Moshfegh writes with so much misanthropic aplomb, however, that she is always a deep pleasure to read. She has a sleepless eye and dispenses observations as if from a toxic eyedropper . . . Though this novel is set nearly 20 years ago, it feels current. The thought of sleeping through this particular moment in the world’s history has appeal.” —
Dwight Garner, The New York Times

“Darkly hilarious . . . [Moshfegh’s] the kind of provocateur who makes you laugh out loud while drawing blood.”

“You’ll emerge from this darkly hilarious novel not necessarily rested or relaxed but more finely attuned to how delicately fraught the human condition can be.” —
Marie Claire

“Electrifying. . . Moshfegh’s narrator’s final gesture, transforming herself into a piece of half-living art, echoes the odd and combative passivity of Herman Melville’s Bartleby, a scrivener who suddenly, inexplicably, refuses to perform his duties. . . . In a country that celebrates doers, such a preference is grotesque, an inversion of the American ideal of prospering through hard work. But it also serves as a reminder that there is something to life outside the economic exchange of time for money and money for goods, even if that unnamed thing is obscure and perplexing and just a bit monstrous--particularly as a woman. Literature may not have the all the answers, but it can show us the power and allure of saying no.” —
Vanity Fair

“I was cringing during every moment of Ottessa Moshfegh’s 
My Year of Rest and Relaxation, and yet I could not put the book down . . . Moshfegh’s protagonist is brutally dreary, and the brutality of her dreariness is often very funny, but the book is really quite serious . . . The book seems to anchor itself to “real” experiences of pain and to validate itself by their relevance . . . But it is mostly, almost by juxtaposition, about the realness of a more subtle and very private 
expression of pain, no matter the cause, no matter how seemingly trivial. That’s what kept me reading even as my cringing muscles grew sore: feeling in my screwed-up face, barked laughs, and watery eyes the translation of that private kind of pain into something I could share.” —
Claire Benoit, The Paris Review

“There’s a casually intimidating power to Moshfegh’s writing – the deadpan frankness and softly cutting sentences – that makes any comparison feel not quite right.” –
Anne Diebel, London Review of Books

“Moshfegh’s ear remains as merciless as ever. Like a latter-day Flaubert, she delights in vanity and mediocrity, and in the absurdist heights both can reach whenever the occasion calls for a few sincere words.” —
Harper’s Magazine

“When we are recommended a book we usually ask, ‘What is it about?’ But with Ottessa Moshfegh’s 
My Year of Rest and Relaxation, we ask, ‘What isn’t it about?’ This novel takes on self-hatred, feminism, sexuality, mental health, family, and big pharma—AND it’s really f*cking funny. I don’t even want to tell you too much because I went in blind, loving Ottessa from her novel 
Eileen (also worth a read) and found myself hooting and hollering, vibing on a very different tip than her other work put me on. I’m so impressed that just one lady has written all these very special different things. Also, this book cover will have you kissing millennial pink goodbye and walking over to hot pink’s corner. About time!” —
Lena Dunham

“Moshfegh has a keen sense of everyday absurdities, a deadpan delivery, and such a well-honed sense of irony that the narrator's predicament never feels tragic; this may be the finest existential novel not written by a French author. . . . A nervy modern-day rebellion tale that isn't afraid to get dark or find humor in the darkness.” — 
Kirkus, starred review
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. She is also the author of the short story collection Homesick for Another World. Her stories have been published in The Paris Review, The New Yorker, and 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. Eileen, her first novel, was shortlisted for the National Book Critics Circle Award and the Man Booker Prize, and won the PEN/Hemingway Award for debut fiction; My Year of Rest and Relaxation, her second novel, was a New York Times bestseller.
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Einband gebundene Ausgabe
Seitenzahl 304
Erscheinungsdatum 10.07.2018
Sprache Englisch
ISBN 978-0-525-52211-9
Verlag Penguin LCC US
Maße (L/B/H) 21,6/14,6/3 cm
Gewicht 429 g
Verkaufsrang 17.220
Buch (gebundene Ausgabe, Englisch)
inkl. gesetzl. MwSt.
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1 Bewertung

My Year of Rest and Relaxation
von Miss.mesmerized am 12.08.2018
Bewertet: Einband: Taschenbuch

Looking at her from the outside, she has everything one could wish for: she is blond, pretty, thin, a Columbia graduate, stylish without effort and she has a job at a gallery. Due to her inheritance, she can afford an apartment on the Upper East Side of Manhattan. But... Looking at her from the outside, she has everything one could wish for: she is blond, pretty, thin, a Columbia graduate, stylish without effort and she has a job at a gallery. Due to her inheritance, she can afford an apartment on the Upper East Side of Manhattan. But that?s just one side of the medal, her relationship with Trevor has been all but healthy, her parents never showed any affection and thus losing them both when she was in college was a minor affair. What she is lacking is an aim in life, something that gives her a reason for being alive. She feels exhausted and just wants to sleep until everything is over. She slowly extends her time in bed, she even falls asleep at work and then, finally, she decides to hibernate. A crazy therapist provides her with medication that allows more and more hours of sleep at a time. She hopes that after a year of rest, she will awake as somebody new. Ottessa Moshfegh is a US-American writer who earned a degree in Creative Writing from Brown University and whose short stories were received with positive reviews. After her novella ?McGLue?, her first novel ?Eileen? was published in 2015 and made it on the shortlist for the 2016 Man Booker Prize. Having chosen a mostly unsympathetic protagonist for her former novel, I found it much easier so sympathise with her narrator in ?My Year of Rest and Relaxation?. The young woman who is portrayed is quite typical in a certain way. She is the modern New Yorker who takes part in the glittery art circus, is a part of a subculture of believes itself to be highly reflective and innovative. At a certain point, the superficiality becomes exhausting and the aimless tittle-tattle and prattle don?t provide any deeper insight. ?The art at Ducat was supposed to be subversive irreverent, shocking, but was all just canned counterculture crap, ?punk, but with money?. Also her relationship does not go beyond superficial sex and one-night-stands that lead to nothing. Added to this is the easy availability of all kinds of drugs, of therapists who themselves are too crazy to detect any serious illness in their clients and therefore just fill in any prescription they are asked for. Even though the plot starts in 2000, the characters are quite typical for the 1990s and they need a major event to wake them up and bring them back to real life. The narrator tries to flee the world and takes more and more pills mixed with each other, as a result she is sleepwalking, even gets a new haircuts and orders masses of lingerie without knowing. Her radius is limited to her blog, her only human contacts are the Egyptians at the bodega at the corner where she buys coffee, the doorman of her apartment house and Reva, her best friend who still cares about her. Even though she is bothered by the things she does when she is not awake, she has become that addicted that she cannot let go anymore. Even though the protagonist is highly depressive and seeing how badly she copes with her life is hard to endure in a way, the novel is also hilarious. I especially liked her meetings with her therapist since Dr. Tuttle is riotous in her eccentric ways and their dialogues are highly comical ? despite the earnestness of their actual topics. Ottessa Moshfegh most certainly earns a place among to most relevant authors of today.