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NEW YORK TIMES BESTSELLER • “A bracingly epic and imaginatively mythic journey across the American West” (Entertainment Weekly), from the celebrated author of The Tiger’s Wife and The Morningside
“Obreht’s simple but rich prose captures and luxuriates in the West’s beauty and sudden menace.”—The New York Times Book Review (Editors’ Choice) A BEST BOOK OF THE YEAR: Time, The Washington Post, Entertainment Weekly, Esquire, Real Simple, Good Housekeeping, Town & Country, The New York Public Library, Kirkus Reviews, Library Journal, BookPage In the lawless, drought-ridden lands of the Arizona Territory in 1893, two extraordinary lives unfold. Nora is an unflinching frontierswoman awaiting the return of the men in her life—her husband, who has gone in search of water for the parched household, and her elder sons, who have vanished after an explosive argument. Lurie is a former outlaw and a man haunted by ghosts. He sees lost souls who want something from him, and he finds reprieve from their longing in an unexpected relationship that inspires a momentous expedition across the West.
Mythical, lyrical, and sweeping in scope, Inland is grounded in true but little-known history. It showcases all of Téa Obreht’s talents as a writer, as she subverts and reimagines the myths of the American West, making them entirely—and unforgettably—her own.
Longlisted for the Andrew Carnegie Medals for Excellence in Fiction
NEW YORK TIMES BESTSELLER • “A bracingly epic and imaginatively mythic journey across the American West” (Entertainment Weekly), from the celebrated author of The Tiger’s Wife and The Morningside
“Obreht’s simple but rich prose captures and luxuriates in the West’s beauty and sudden menace.”—The New York Times Book Review (Editors’ Choice) A BEST BOOK OF THE YEAR: Time, The Washington Post, Entertainment Weekly, Esquire, Real Simple, Good Housekeeping, Town & Country, The New York Public Library, Kirkus Reviews, Library Journal, BookPage In the lawless, drought-ridden lands of the Arizona Territory in 1893, two extraordinary lives unfold. Nora is an unflinching frontierswoman awaiting the return of the men in her life—her husband, who has gone in search of water for the parched household, and her elder sons, who have vanished after an explosive argument. Lurie is a former outlaw and a man haunted by ghosts. He sees lost souls who want something from him, and he finds reprieve from their longing in an unexpected relationship that inspires a momentous expedition across the West.
Mythical, lyrical, and sweeping in scope, Inland is grounded in true but little-known history. It showcases all of Téa Obreht’s talents as a writer, as she subverts and reimagines the myths of the American West, making them entirely—and unforgettably—her own.
Longlisted for the Andrew Carnegie Medals for Excellence in Fiction
En raison de restrictions imposées par l'éditeur, la bibliothèque n'est pas en mesure d'acheter des exemplaires supplémentaires de ce titre et nous vous présentons toutes nos excuses si la liste d'attente est longue. N'oubliez pas de regarder s'il existe d'autres exemplaires, car d'autres éditions sont peut-être disponibles.
En raison de restrictions imposées par l'éditeur, la bibliothèque n'est pas en mesure d'acheter des exemplaires supplémentaires de ce titre et nous vous présentons toutes nos excuses si la liste d'attente est longue. N'oubliez pas de regarder s'il existe d'autres exemplaires, car d'autres éditions sont peut-être disponibles.
Extraits-
From the cover
The Missouri
When those men rode down to the fording place last night, I thought us done for. Even you must realize how close they came: their smell, the song of their bridles, the whites of their horses’ eyes. True to form—blind though you are, and with that shot still irretrievable in your thigh—you made to stand and meet them. Perhaps I should have let you. It might have averted what happened tonight, and the girl would be unharmed. But how could I have known? I was unready, disbelieving of our fate, and in the end could only watch them cross and ride up the wash away from us in the moonlight. And wasn’t I right to wait—for habit if nothing else? I knew you had flight in you yet. You still do; as do I, as I have all my life—since long before we fell in together, when I first came round to myself, six years old and already on the run, wave-rocked, with my father in the bunk beside me and all around the hiss of water against the hull. It was my father running back then, though from what I never knew. He was thin, I think. Young, perhaps. A blacksmith perhaps, or some other hard-laboring man who never caught more rest than he did that swaying month when night and day went undiffered, and there was nothing but the creak of rope and pulley somewhere above us in the dark. He called me sìne, and some other name I’ve struggled lifelong to recall. Of our crossing I remember mostly foam veins and the smell of salt. And the dead, of course, outlaid in their white shrouds side by side along the stern.
We found lodging near the harbor. Our room overlooked laundry lines that crosshatched from window to window until they vanished in the steam of the washhouse below. We shared a mattress and turned our backs to the madman across the room and pretended he wasn’t a bit further gone each day than the last. There was always somebody shrieking in the halls. Somebody caught between worlds. I lay on my side and held the lapel of my father’s coat and felt the lice roving through my hair.
I never met a man so deep-sleeping as my father. Dockwork will do that, I reckon. Every day would find him straining under some crate or hump of rope that made him look an ant. Afterwards, he’d take my hand and let the river of disembarking bodies carry us away from the quays, up the thoroughfare to where the steel scaffolds were rising. They were a marvel to him, curious as he was about the world’s workings. He had a long memory, a constant toothache, and an abiding hatred of Turks that tended to flare up when he took tea with likeminded men. But a funny thing would happen if ever some Serb or Magyar started in about the iron fist of Stambul: my father, so fixed in his enmity, would grow suddenly tearful. Well, efendi, he’d say. Are you better off now? Better off here? Ali-Pasha Rizvanbegović was a tyrant—but far from the worst! At least our land was beautiful. At least our homes were our own. Then would follow wistful reminiscences of his boyhood village: a tumble of stone houses split by a river so green he had no word for it in his new tongue, and had to say it in the old one, thus trapping it forever as a secret between the two of us. What I’d give to remember that word. I could not think why he would leave such a town for this reeking harbor, which turned out to be the kind of place where praying palms-up and a name like Hadziosman Djurić got him mistaken for a Turk so often he disowned both. I believe he called himself Hodgeman Drury for a while—but he was buried “Hodge Lurie” thanks to our landlady’s best guess at the crowded consonants of his name when the...
Au sujet de l’auteur-
Téa Obreht’s debut novel, The Tiger's Wife, won the 2011 Orange Prize for Fiction and was an international bestseller. Her work has appeared in The Best American Short Stories, The New Yorker, The Atlantic, Harper’s Magazine, and Zoetrope: All-Story, among many others. Originally from the former Yugoslavia, she now lives in New York with her husband and teaches at Hunter College.
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A dynamic pair, Anna Chlumsky and Edoardo Ballerini, deliver an emotionally rich performance of this intricately woven story steeped in the Western frontier. Haunted by their pasts, Nora and Lurie do what they can to survive in the desolation of the Arizona Territory. Lurie's chapters unfold in the first person, and Edoardo Ballerini's deep, gravelly voice and purposeful cadence underline the urgent intimacy of the truth being revealed. While Ballerini is good, Anna Chlumsky is near perfect as Nora. Chlumsky employs a slight Western drawl and resists the urge to rush the story, naturally lingering on reflections and revelations. Chlumsky's impressive versatility with a variety characters--men, women, and especially children--further enlivens the performance, transporting listeners to this mythic time and place. A.S. Winner of AudioFile Earphones Award © AudioFile 2019, Portland, Maine
