With the fierce emotional and intellectual power of such classics
as Jean Rhys's Good Morning, Midnight, Sylvia Plath's The Bell Jar,
and Clarice Lispector's The Hour of the Star, Kate Zambreno's novel
Green Girl is a provocative, sharply etched portrait of a young
woman navigating the spectrum between anomie and epiphany. First
published in 2011 in a small press edition, Green Girl was named
one of the best books of the year by critics including Dennis
Cooper and Roxane Gay. In Bookforum, James Greer called it
"ambitious in a way few works of fiction are." This summer it is
being republished in an all-new Harper Perennial trade paperback,
significantly revised by the author, and including an extensive
P.S. section including never before published outtakes, an
interview with the author, and a new essay by Zambreno. Zambreno's
heroine, Ruth, is a young American in London, kin to Jean Seberg
gamines and contemporary celebutantes, by day spritzing perfume at
the department store she calls Horrids, by night trying desperately
to navigate a world colored by the unwanted gaze of others and the
uncertainty of her own self-regard. Ruth, the green girl, joins the
canon of young people existing in that important, frightening, and
exhilarating period of drift and anxiety between youth and
adulthood, and her story is told through the eyes of one of the
most surprising and unforgettable narrators in recent fiction-a
voice at once distanced and maternal, indulgent yet blackly funny.
And the result is a piercing yet humane meditation on alienation,
consumerism, the city, self-awareness, and desire, by a novelist
who has been compared with Jean Rhys, Virginia Woolf, and Elfriede
Jelinek.
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