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The Sleepwalker

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"Margarita Karapanou leads us into the labyrinth where God lives. One must read her as one reads Rimbaud or Blake... Karapanou's insistence on tearing off our everyday clothes and ridiculous masks makes her, indeed, a truly remarkable writer." --Jerome Charyn, Le Monde At the opening of Margarita Karapanou's stunning second novel, in disgust at mankind God vomits a new Mes "Margarita Karapanou leads us into the labyrinth where God lives. One must read her as one reads Rimbaud or Blake... Karapanou's insistence on tearing off our everyday clothes and ridiculous masks makes her, indeed, a truly remarkable writer." --Jerome Charyn, Le Monde At the opening of Margarita Karapanou's stunning second novel, in disgust at mankind God vomits a new Messiah onto the earth. Or rather, onto a Greek island. Populated by villagers, ex-pats, artists, writers, this island is a Tower of Babel, a place where languages and individuals have been assembled, as though in wait for something as horrific and comic as this second coming. The Sleepwalker moves deftly and dizzyingly between genres-satire, murder mystery, magical realism, its own brand of Theater of the Absurd-following Manolis, the new Messiah, as he moves through this place like a sleepwalker, unaware to the very end of his divine nature. Manolis, in his guise as policeman, leaves nothing unchanged by his passing, as the island shifts from a conventional locale for upper-class tourists and drifters to a place where the surreal comes to life and the sun refuses to set. In The Sleepwalker Karapanou has created an unforgettable depiction of a dissolute world, desperately comic and full of compassion, a world in which nightmare and miracle both uneasily reside.


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"Margarita Karapanou leads us into the labyrinth where God lives. One must read her as one reads Rimbaud or Blake... Karapanou's insistence on tearing off our everyday clothes and ridiculous masks makes her, indeed, a truly remarkable writer." --Jerome Charyn, Le Monde At the opening of Margarita Karapanou's stunning second novel, in disgust at mankind God vomits a new Mes "Margarita Karapanou leads us into the labyrinth where God lives. One must read her as one reads Rimbaud or Blake... Karapanou's insistence on tearing off our everyday clothes and ridiculous masks makes her, indeed, a truly remarkable writer." --Jerome Charyn, Le Monde At the opening of Margarita Karapanou's stunning second novel, in disgust at mankind God vomits a new Messiah onto the earth. Or rather, onto a Greek island. Populated by villagers, ex-pats, artists, writers, this island is a Tower of Babel, a place where languages and individuals have been assembled, as though in wait for something as horrific and comic as this second coming. The Sleepwalker moves deftly and dizzyingly between genres-satire, murder mystery, magical realism, its own brand of Theater of the Absurd-following Manolis, the new Messiah, as he moves through this place like a sleepwalker, unaware to the very end of his divine nature. Manolis, in his guise as policeman, leaves nothing unchanged by his passing, as the island shifts from a conventional locale for upper-class tourists and drifters to a place where the surreal comes to life and the sun refuses to set. In The Sleepwalker Karapanou has created an unforgettable depiction of a dissolute world, desperately comic and full of compassion, a world in which nightmare and miracle both uneasily reside.

30 review for The Sleepwalker

  1. 4 out of 5

    Nate D

    Bleak and phantasmagoric, this plays out almost as a modernized The Other Side. A bunch of artists form an isolated community (here, as expats on the would-be utopia of a beautiful Greek island) but instead of productivity and freedom (or the slightest glimmer of happiness) they fall apart into personal problems, temporary loves, and all too often, death and dissolution (which becomes a kind of large-scale outside (divine?) apocalyptic force, as in the the plagues and collapse of The Other Side) Bleak and phantasmagoric, this plays out almost as a modernized The Other Side. A bunch of artists form an isolated community (here, as expats on the would-be utopia of a beautiful Greek island) but instead of productivity and freedom (or the slightest glimmer of happiness) they fall apart into personal problems, temporary loves, and all too often, death and dissolution (which becomes a kind of large-scale outside (divine?) apocalyptic force, as in the the plagues and collapse of The Other Side). This terrifying and beautifully macabre story seems to emerge, however, out of the ashes and detritus a much less clear and urgent one (to me, a much less successful one), aimlessly circulating amongst alcoholics and layabouts whose character and actions can seem entirely lacking in causality. This is something I've noted before in Karapanou, with greater success when narrating from the irrational spaces of childhood (and possibly insanity) in Kassandra and the Wolf and with somewhat less when attempting to tell some kind of hopeless love story whose characters' motives never seem to resolve enough to invite the necessary reader empathy in Rien ne va plus. Here we have a few explanations for the inexplicable: alcoholism (that great breaker of logical sequences of action) and a kind of divine intervention, but neither of these entirely satisfy until Karapanou's almost-symbolist cosmogony of moral disintegration and chaos overrides all else. The degree to which the ending modifies and illuminates what comes before is striking here, redeeming the novel entirely from my mounting frustration, but I'm still not sure that the first half or so actually works in any self-contained way. Then, neither did large swaths of The Other Side. Maybe books like these don't need to work in each independent facet to present a powerful and memorable whole. Or perhaps the early failings are, in fact, my own, and were I to re-read with my new sense of the larger arc, I'd find very different rhythms and significances. In any event, this is a strange and fascinating one, it just takes some time for that to become at all clear.

  2. 5 out of 5

    ανεμώνη ઇઉ

    Ωραία και χειμαρρώδης γραφή αλλά πολύ περίεργη και ανιαρή πλοκή. Ένιωθα λες και η συγγραφέας ξέχασε ή βαρέθηκε να κάνει editing. Not bad, αλλά είχα υψηλότερες προσδοκίες. Ωστόσο, θα δώσω κι άλλη ευκαιρία στην Καραπάνου γιατί όντως η γραφή της είναι εξαιρετική, με πολύ συναίσθημα και εμβρίθεια.

  3. 5 out of 5

    Εβελίνα

    Το νησί και η Καραπάνου κάνουν τρομερό matching.

  4. 4 out of 5

    Vasileios

    https://www.vintagestories.gr/o-ypnov... Την Μαργαρίτα Καραπάνου, την πρωτογνώρισα με το ιδιαιτέρως σκληρό και γκροτέσκο βιβλίο της Η Κασσάνδρα και ο Λύκος. Εδώ και καιρό είχα διαβάσει το βιβλίο της Ο υπνοβάτης, το οποίο είχε διακριθεί στη Γαλλία με το βραβείο του καλύτερου ξένου μυθιστορήματος το 1988. Με επηρέασε τόσο που χρειαζόμουν χρόνο για να το «χωνέψω». Ο υπνοβάτης, είναι μια φάρσα για την αποσύνθεση του σύγχρονου κόσμου μας, γεμάτο οξύτητα, χιούμορ αλλά και συμπόνια. Όπως και στο βιβλίο Η https://www.vintagestories.gr/o-ypnov... Την Μαργαρίτα Καραπάνου, την πρωτογνώρισα με το ιδιαιτέρως σκληρό και γκροτέσκο βιβλίο της Η Κασσάνδρα και ο Λύκος. Εδώ και καιρό είχα διαβάσει το βιβλίο της Ο υπνοβάτης, το οποίο είχε διακριθεί στη Γαλλία με το βραβείο του καλύτερου ξένου μυθιστορήματος το 1988. Με επηρέασε τόσο που χρειαζόμουν χρόνο για να το «χωνέψω». Ο υπνοβάτης, είναι μια φάρσα για την αποσύνθεση του σύγχρονου κόσμου μας, γεμάτο οξύτητα, χιούμορ αλλά και συμπόνια. Όπως και στο βιβλίο Η Κασάνδρα και ο Λύκος, ερχόμαστε αντιμέτωποι με μια γλώσσα που χαρακτηρίζεται από ωμές περιγραφές και εικόνες με πολύ μεγάλη σημειολογική βαρύτητα. Με ιδιαίτερη και πάντα επίκαιρη γραφή, που μπλέκει το συμβατικό με το μεταφυσικό, η Μαργαρίτα Καραπάνου μάς παρουσιάζει ένα ελληνικό νησί γεμάτο εκκεντρικούς καλλιτέχνες που ψάχνουν σε αυτό την έμπνευση που χρειάζονται. Το νησί που κατοικείται τόσο από ξένους και εγχώριους κατοίκους, παρουσιάζεται ως σύγχρονη Βαβέλ και ως κέντρο διαφθοράς, που οφείλεται κατά το βιβλίο στον συνωστισμό των καλλιτεχνών. Έτσι ο Θεός απογοητευμένος και προδομένος με την εξέλιξη του σύγχρονου ανθρώπου, αποφασίζει να τους στείλει έναν καινούργιο Μεσσία, αντάξιο της παρακμής τους, ο οποίος προκύπτει μετά από έναν εμετό. Οι χαρακτήρες του βιβλίου είναι ιδιόμορφοι και με αυτόν του Μανόλη να ξεχωρίζει (του νέου Μεσσία), τοποθετείται στο νησί με τον ρόλο του χωροφύλακα για να επιβάλει την τάξη στους ανθρώπους. Κινείται αθόρυβα, ως υπνοβάτης (όπως και οι άλλοι κάτοικοι του νησιού), γλυκός και ευγενικός εξ όψεως, ενώ κυριαρχεί μια «σκοτεινή» συμπεριφορά που θα οδηγήσει σε βιασμούς, δολοφονίες και εξαφανίσεις. Συνέχεια > https://www.vintagestories.gr/o-ypnov...

  5. 5 out of 5

    Χριστίνα

    Δυστυχώς, παρόλο που γενικότερα μ'αρεσει η Καραπάνου, το συγκεκριμένο βιβλιο δεν το απόλαυσα καθόλου. Το γράψιμό της είναι γεμάτο και ο λόγος της χειμαρρώδης, στοιχεία που με κερδίζουν σε αλλα βιβλια αλλά εδώ ίσα ίσα με απομάκρυναν. Σε αυτό βοήθησε και η πλοκή του, που δεν τη βρήκα ενδιαφέρουσα ουτε σε ενα σημείο του βιβλιου. Παρόλα αυτά δεν τα παραταω έτσι εύκολα με την Καραπάνου και θα της δώσω και αλλη ευκαιρία Δυστυχώς, παρόλο που γενικότερα μ'αρεσει η Καραπάνου, το συγκεκριμένο βιβλιο δεν το απόλαυσα καθόλου. Το γράψιμό της είναι γεμάτο και ο λόγος της χειμαρρώδης, στοιχεία που με κερδίζουν σε αλλα βιβλια αλλά εδώ ίσα ίσα με απομάκρυναν. Σε αυτό βοήθησε και η πλοκή του, που δεν τη βρήκα ενδιαφέρουσα ουτε σε ενα σημείο του βιβλιου. Παρόλα αυτά δεν τα παραταω έτσι εύκολα με την Καραπάνου και θα της δώσω και αλλη ευκαιρία

  6. 4 out of 5

    MTK

    Ενδιαφέρον, αλλά επιτηδεύμενα αρρωστημένο.

  7. 4 out of 5

    Elena Sala

    A resentful God, betrayed and disappointed by the evolution of modern man, who put pleasure and beauty above Law, vomits a new Messiah worthy of their decline, onto an unnamed Greek island. So begins Margarita Karapanou 's second novel, THE SLEEPWALKER. Emmanuel, as the Messiah is really called, is a blond and handsome police officer who is known by the name of Manolis. Manolis is a murderer and his killings set the novel’s plot in motion. He is the savior men deserve because he was "made in the A resentful God, betrayed and disappointed by the evolution of modern man, who put pleasure and beauty above Law, vomits a new Messiah worthy of their decline, onto an unnamed Greek island. So begins Margarita Karapanou 's second novel, THE SLEEPWALKER. Emmanuel, as the Messiah is really called, is a blond and handsome police officer who is known by the name of Manolis. Manolis is a murderer and his killings set the novel’s plot in motion. He is the savior men deserve because he was "made in their image and likeness." The islanders adore this beautiful officer—and particularly so the members of the island's eccentric community of bohemian expats, who worship beauty above all things. All of these bohemian expats are artists suffering from a lack of creativity. They came to the island to find inspiration, but they find none. They are all bogged down in unfinished or unrealized works and lost in unfulfilling relationships. They are excentric and peculiar characters and the core of the corruption that has infested the island resides in them. Manolis moves quietly, like a sleepwalker. He is sweet and kind in appearance, while hiding a dark behavior that will lead to rape, murder and disappearances. THE SLEEPWALKER is a crime novel, a satire and an absurdist story. Karapanou 's writing style is fragmented and bewildering, at times. A novel that will be greatly enjoyed by readers who love postmodernist fiction.

  8. 4 out of 5

    Ben Winch

    Disappointing. Strangely, what started out as gripping and impressive ended as a cartoon I was keen to be done with. Not that I dislike cartoons, but this one lacked weight, or self-consciousness. A shame, since the seed of something great was still there, but unpruned, gone to seed, left to run riot while Karapanou, I suspect, awaited the end as I did. My impression: a book that, free-growing and much-improvised as it was, then exhausted its author in the editing, which polished the first part Disappointing. Strangely, what started out as gripping and impressive ended as a cartoon I was keen to be done with. Not that I dislike cartoons, but this one lacked weight, or self-consciousness. A shame, since the seed of something great was still there, but unpruned, gone to seed, left to run riot while Karapanou, I suspect, awaited the end as I did. My impression: a book that, free-growing and much-improvised as it was, then exhausted its author in the editing, which polished the first part at the expense of the second. The result: while fulfilling its visionary contract to the letter, it reneges on the spirit. Could have been much more.

  9. 5 out of 5

    Lisa

    I would like to provide a few paragraphs from this beautifully written and translated book. The episode I'll excerpt struck me as particularly vivid (while sitting outside on a bazillion degree afternoon). It's from the end of the book, when the images were quickly shifting. ------- Stephanos stood up, staggering, pulled the glass doors shut, locked them and put the key in his pocket. Then he went back to his chess game. In the closed space, the fans creaked unbearably, the music was deafening. Th I would like to provide a few paragraphs from this beautifully written and translated book. The episode I'll excerpt struck me as particularly vivid (while sitting outside on a bazillion degree afternoon). It's from the end of the book, when the images were quickly shifting. ------- Stephanos stood up, staggering, pulled the glass doors shut, locked them and put the key in his pocket. Then he went back to his chess game. In the closed space, the fans creaked unbearably, the music was deafening. They were dancing naked, frantic form the heat. Sue had fallen off the table and they kept stepping on her, until her body was covered with bruises. They grabbed liquor off the shelves and drank straight from the bottles. The gin, whiskey, and tequila steamed, burning their eyes and cheeks. When the power went off, they didn't realize right away. Their voices were louder than the music, and when it stopped they didn't even notice. But then they saw the fans spinning more and more slowly, creaking one last time and then coming to a stop. "Stephanos! The key!" someone shouted. But no one moved. Stephanos, alone in his corner, absorbed in his game, didn't hear. "Checkmate!" he announced, then fell senseless onto the board. The pieces scattered over the floor. To the others, who were in the final stages of intoxication, that movement, endlessly repeated in the mirrors behind Stephanos, seemed slow, unending, like the frame of a movie which the power outage had also stopped. The entire bar was cut off violently from the outside world. Inside, noses pressed to the glass, they opened and closed their mouths silently, like fish in a tank. Their arms, sliding over the locked doors, looked like fins. The lack of oxygen distorted their features, made their eyes bulge -- and yet from the outside it looked as if they were having the time of their lives, still singing at the top of their lungs. The heat stole in, spread over the floor, and started to rise." ------- (pp 231-232) Going back over that section makes me love this book even more, makes me remember how fully all of my senses were engaged while reading.

  10. 5 out of 5

    Will E

    2.5 maybe. I feel like this book suffered because of unmatched expectations. The first chapter is so interesting (God vomits a new messiah) and then it's just 200 pages of sexually ambiguous hipster murder mystery. That might sound cool but it's not. Ending is kinda fun and weird. The chapter with Alfredo is good too. But the symbolic nature of the story kind of dominated the book at the expense of having actual, developed characters. I could hardly keep track of everyone—half of them are gay, t 2.5 maybe. I feel like this book suffered because of unmatched expectations. The first chapter is so interesting (God vomits a new messiah) and then it's just 200 pages of sexually ambiguous hipster murder mystery. That might sound cool but it's not. Ending is kinda fun and weird. The chapter with Alfredo is good too. But the symbolic nature of the story kind of dominated the book at the expense of having actual, developed characters. I could hardly keep track of everyone—half of them are gay, the other half are artists, and practically none of them get any descriptions outside of that. Kind of disappointed in this book, but maybe I built it into something else in my imagination from the time I first heard about this book until now, when I actually got to read it. Oh well.

  11. 4 out of 5

    Yiannis

    Μέσα από ένα κράμα χειμαρώδους, γρήγορα εναλλασσόμενης γλώσσας η Μαργαρίτα Καραπάνου υφαίνει μια ιστορία φαντασιακών τεχνασμάτων κάτω από τον καυτό ήλιο του Καμύ, ως μνεία στην ευρωπαϊκή λογοτεχνία που σταθερά την ενέπνευε.

  12. 5 out of 5

    Eugene

    Amazing. It's hard to understand/accept this is a world where Karapanou isn't rabidly annointed or at least viciously condemned... Anyway, I'm with the rabids. What a writer! Amazing. It's hard to understand/accept this is a world where Karapanou isn't rabidly annointed or at least viciously condemned... Anyway, I'm with the rabids. What a writer!

  13. 4 out of 5

    Takisx

    Το ξαναδιαβάζω μετά απο χρόνια.Πόσο μπροστά καιπίσω απο την εποχή του.

  14. 4 out of 5

    Alyazia

    oh boy

  15. 5 out of 5

    Chrysostomos Agapitos

    Ιούνιος με τον ανεμιστήρα οροφής στο φουλ. Έξω συννεφιά και υγρασία. Μέσα στο σπίτι, ησυχία. Η τηλεόραση ανοιχτή, χωρίς ήχο. Γυρνάω σελίδα και διαβάζω. Κλείνω τα μάτια. Οι ήρωες της Καραπάνου υπνοβατούν μέσα μου, όπως ακριβώς και στα σοκάκια της επινοημένης Ύδρας του '80 - μιας Ύδρας Λερναίας όπου τα πάθη πολλαπλασιάζονται, εκτεθειμένα στην αμείλικτη ομορφιά του τοπίου. Στην ταινία "Suntan" ο σκηνοθέτης Αργύρης Παπαδημητρόπουλος το είχε θέσει εξαιρετικά: Κάτω απ' τον ήλιο, κάποιοι μαυρίζουν και ά Ιούνιος με τον ανεμιστήρα οροφής στο φουλ. Έξω συννεφιά και υγρασία. Μέσα στο σπίτι, ησυχία. Η τηλεόραση ανοιχτή, χωρίς ήχο. Γυρνάω σελίδα και διαβάζω. Κλείνω τα μάτια. Οι ήρωες της Καραπάνου υπνοβατούν μέσα μου, όπως ακριβώς και στα σοκάκια της επινοημένης Ύδρας του '80 - μιας Ύδρας Λερναίας όπου τα πάθη πολλαπλασιάζονται, εκτεθειμένα στην αμείλικτη ομορφιά του τοπίου. Στην ταινία "Suntan" ο σκηνοθέτης Αργύρης Παπαδημητρόπουλος το είχε θέσει εξαιρετικά: Κάτω απ' τον ήλιο, κάποιοι μαυρίζουν και άλλοι καίγονται. Η Καραπάνου μας θυμίζει ότι οι δύο ιδιότητες - αυτή του ηλιοκαμένου κι εκείνη του καμένου από χέρι - ενίοτε συγκλίνουν. Ο κοσμοπολίτης μπορεί άνετα να είναι και φουκαράς. Ο μάτσο ηλεκτρολόγος μπορεί με ευκολία να παίξει και τον ρόλο της χήρας. Ακόμη κι ο Μεσσίας μπορεί να γίνει κατά συρροήν δολοφόνος. Πώς αλλιώς να μπει στη θέση των θνητών; Ανοίγω τα μάτια. Στα παράθυρα των ειδήσεων παρελαύνουν φιγούρες γκροτέσκες: Πάθη, εγκλήματα, σκάνδαλα - όλα τους φρέσκα, σπαρταριστά, θαρρείς και τα ΄γραψα μόλις τώρα, στην ονειροπόληση μου. Είμαι κι εγώ άραγε σαν τους πλάνητες συγγραφείς που περιγράφει το μυθιστόρημα; Η επαγγελματική τους ιδιότητα εξαντλείται στον ευσεβή τους πόθο να γράψουν. Κι αν είμαι, τι πειράζει; Ίσως αυτή να είναι κάποιου είδους συγγραφική επιτυχία που δεν αποτιμάται με όρους μπεστ σέλερ. Μια επιτυχία στην οποία συμβάλλουμε όλοι, έτσι όπως γράφουμε και ξεγράφουμε κάθε μέρα το συλλογικό μυθιστόρημα της κοινής μας μοίρας εν αγνοία μας.

  16. 4 out of 5

    Γιώτα Τεμπρίδου

    "Ένα κορίτσι βλέπεις στο λιμάνι, 'ε ρε γκόμενα' λες, και σου βγαίνει αγόρι. Βλέπεις τις πλατάρες ενός αγοριού, στρίβει, νά κάτι βυζιά. Πώς να τα βγάλω πέρα; Εγώ έχω μεγαλώσει με αρχές. Τέλος πάντων. Σ' ένα πράμα έχω καταλήξει. Ο δολοφόνος είναι ξένος. Κανένας Έλληνας δεν είναι τόσο διεστραμμένος. Δε λέω, έχουμε τις αδυναμίες μας. Αν ήταν μόνο πούστης, θα εξέταζα το θέμα από ελληνικής πλευράς. Αλλά να παίζει και στα δύο ταμπλώ -σεξουαλικά- ε όχι. Ο Έλληνας, και πούστης νάναι, έχει αρχές." Μαχαιρώμ "Ένα κορίτσι βλέπεις στο λιμάνι, 'ε ρε γκόμενα' λες, και σου βγαίνει αγόρι. Βλέπεις τις πλατάρες ενός αγοριού, στρίβει, νά κάτι βυζιά. Πώς να τα βγάλω πέρα; Εγώ έχω μεγαλώσει με αρχές. Τέλος πάντων. Σ' ένα πράμα έχω καταλήξει. Ο δολοφόνος είναι ξένος. Κανένας Έλληνας δεν είναι τόσο διεστραμμένος. Δε λέω, έχουμε τις αδυναμίες μας. Αν ήταν μόνο πούστης, θα εξέταζα το θέμα από ελληνικής πλευράς. Αλλά να παίζει και στα δύο ταμπλώ -σεξουαλικά- ε όχι. Ο Έλληνας, και πούστης νάναι, έχει αρχές." Μαχαιρώματα και κόκκινα σημάδια. Ακέφαλα αγόρια. Σωροί από σκουπίδια, ένας κόσμος ακάθαρτος. Η Mina, ο Mark, η Λούκα, ο Placido. Ο Μανώλης και ένα νησί. Ένα νησί στον ήλιο. Και, αυτονοήτως, πολλά περισσότερα.

  17. 4 out of 5

    C

    I found this book extraordinarily compelling, although I'm not really sure how much I really grasped it or whether or not I would recommend it. I found this book extraordinarily compelling, although I'm not really sure how much I really grasped it or whether or not I would recommend it.

  18. 5 out of 5

    Anada Werner

    Bizarre, disturbing, and beautiful. Karapanou writes a new Revelations for those of us who prefer to take our apocalypses on the shores of an idyllic Greek isle, with a dash of uncomfortable eroticism. Both saddened and relieved to be freed of the insane fever dream that was this book, gladdened to know that more of Karapanou’s work lies ahead unread.

  19. 5 out of 5

    Alan

    Just like Rien Ne Va Plus but more so... hyperbolically fantastical and beautiful and cruel and violent.

  20. 5 out of 5

    Dn

    "This must be what hell is like... To have the same beauty constantly before you, so your eye can never rest on anything ugly or plain" Such a unique book and so beautifully written it captivates you into its weirdness from the very first page, till the last one. A rotting society trapped in paradise sleepwalking through their lives until the new Messiah, Manolis, produced by God's vomit this time, to fit with the state of the world, comes to set things in order without anyone, including Manolis "This must be what hell is like... To have the same beauty constantly before you, so your eye can never rest on anything ugly or plain" Such a unique book and so beautifully written it captivates you into its weirdness from the very first page, till the last one. A rotting society trapped in paradise sleepwalking through their lives until the new Messiah, Manolis, produced by God's vomit this time, to fit with the state of the world, comes to set things in order without anyone, including Manolis himself really knowing how or why he was put into that position, no less a pawn, a tool, than everyone else. This book puts you into a journey, written in such a haunting, poetic and dream-like way yet, with vivid metaphors and never shying away from the cruelty and the brutallity of the world. It is a book that once you read it, you will always remember it.

  21. 4 out of 5

    Treasa

    I continued reading because the writing was phenomenal. It was like nothing I'd read before for multiple reasons, one of them being how bizarre is was. The characters, the setting, the actions, all had a point and came together but I came close to putting it down. I get what it was trying to do/say and I think it's a very intruiging idea and message, but the way it got there was almost too strange for my taste. Strange sex, mostly. I continued reading because the writing was phenomenal. It was like nothing I'd read before for multiple reasons, one of them being how bizarre is was. The characters, the setting, the actions, all had a point and came together but I came close to putting it down. I get what it was trying to do/say and I think it's a very intruiging idea and message, but the way it got there was almost too strange for my taste. Strange sex, mostly.

  22. 5 out of 5

    Torea Frey

    I read about this little book on Words Without Borders (http://wordswithoutborders.org/book-r...). Their review is better/more coherent than mine could hope to be, but I will say this: probably best not to read the harrowing, dystopic narrative while in a doctor's office waiting room. I read about this little book on Words Without Borders (http://wordswithoutborders.org/book-r...). Their review is better/more coherent than mine could hope to be, but I will say this: probably best not to read the harrowing, dystopic narrative while in a doctor's office waiting room.

  23. 4 out of 5

    Jake K.

    Strange, self-indulgent, maybe too many rape scenes. Wonderful read.

  24. 5 out of 5

    Sarah

    Kind of like Francesca Lia Block, but not nearly as enjoyable. I find that books about artists are uninteresting. Just seems like their tour into unconventionality fails every time.

  25. 4 out of 5

    Theodora Kanelli

  26. 4 out of 5

    Marina Maidou

  27. 4 out of 5

    Tony

  28. 4 out of 5

    Katerina Kontzali

  29. 4 out of 5

    Gemma Gemmamou

  30. 5 out of 5

    Maria

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