Iain Reid

<Tendrás miedo, pero no sabrás por qué... «Estoy pensando en dejarlo». Una vez que llega este pensamiento, se queda. Está presente siempre. Siempre. Jake y yo tenemos una conexión de verdad, un apego raro, intenso. ¿Cuánto llevamos...? ¿Un mes? Me siento muy atraída hacia él, aunque en realidad no sea precisamente guapo. Voy a conocer a sus padres por primera vez, al mismo tiempo que estoy pensando dejarlo. Jake dijo en una ocasión que «A veces un pensamiento está más cerca de la verdad, de la realidad, que una acción. Se puede decir cualquier cosa, se puede hacer cualquier cosa, pero no se puede fingir un pensamiento». Y lo que estoy pensando es que no quiero estar aquí. Estoy pensando en dejarlo. LA NOVELA EN LA QUE SE BASA LA PELÍCULA DIRIGIDA POR CHARLIE KAUFMAN

No romance de estreia do canadense Iain Reid, Jake conduz o carro em que ele e a namorada, que narra a história, vão à fazenda dos pais do rapaz. Durante a longa viagem por estradas desertas e escuras, a garota, atormentada com a perseguição de um homem misterioso que deixa sempre a mesma mensagem de voz em seu telefone, pensa em encerrar o relacionamento com Jake. Mas talvez seja tarde demais. Reid, que tem dois livros de não ficção elogiados pela crítica e contribui para veículos de prestígio como a revista New Yorker, une, numa narrativa profundamente psicológica, tanto referências de terror clássico, quanto elementos de suspenses menos tradicionais, sustentando a trama para além das limitações inerentes ao gênero. Um thriller curto e denso que esconde, em meio ao medo provocado pela sensação de uma tragédia iminente, alegorias sobre a própria vida ser uma tragédia anunciada.

A taut, psychological mind-bender from the bestselling author of I’m Thinking of Ending Things. We don’t get visitors. Not out here. We never have. In Iain Reid’s second haunting, philosophical puzzle of a novel, set in the near-future, Junior and Henrietta live a comfortable, solitary life on their farm, far from the city lights, but in close quarters with each other. One day, a stranger from the city arrives with alarming Junior has been randomly selected to travel far away from the farm...very far away. The most unusual part? Arrangements have already been made so that when he leaves, Henrietta won't have a chance to miss him, because she won't be left alone—not even for a moment. Henrietta will have company. Familiar company. Told in Reid’s sharp and evocative style, Foe examines the nature of domestic relationships, self-determination, and what it means to be (or not to be) a person. An eerily entrancing page-turner, it churns with unease and suspense from the first words to its shocking finale.

Soon to be a major motion picture starring Saoirse Ronan and Paul Mescal. A taut, psychological thriller from Iain Reid, “one of the most talented purveyors of weird, dark narratives in contemporary fiction” ( Los Angeles Review of Books ). Severe climate change has ravaged the country, leaving behind a charred wasteland. Junior and Henrietta live a comfortable if solitary life on one of the last remaining farms. Their private existence is disturbed the day a stranger comes to the door with alarming news. Junior has been randomly selected to travel far away from the farm, but the most unusual part is that arrangements have already been made so that when he leaves, Henrietta won’t have a chance to miss him. She won’t be left alone—not even for a moment. Henrietta will have company. Familiar company. Told in Iain Reid’s sparse, biting style, Foe is a “mind-bending and genre-defying work of genius” (Liz Nugent, author of Unraveling Oliver ) that will stay with you long after you turn the final page.

Her Şeyi Bitirmeyi Düşünüyorum adsız kadın kahramanın terk etmeyi düşündüğü erkek arkadaşı Jake'le çıktığı araba yolculuğuyla başlıyor ve okuru hiçbir şeyin göründüğü gibi olmadığı bir dünyaya götürüyor. Bu ilk romanıyla psikolojik gerilim türünün başarılı örneklerinden birine imza atan Iain Reid, bundan böyle adından sıkça söz ettireceğe benziyor.

The book has been described as a psychological thriller and horror fiction,[1][2] and is about a young woman who has many doubts about her relationship with her boyfriend but nevertheless takes a road trip with him to meet his parents. (Wikipedia)

Now a Netflix original movie, this deeply scary and intensely unnerving novel follows a couple in the midst of a twisted unraveling of the darkest unease. You will be scared. But you won’t know why…I’m thinking of ending things. Once this thought arrives, it stays. It sticks. It lingers. It’s always there. Always. Jake once said, “Sometimes a thought is closer to truth, to reality, than an action. You can say anything, you can do anything, but you can’t fake a thought.” And here’s what I’m thinking: I don’t want to be here. In this smart and intense literary suspense novel, Iain Reid explores the depths of the human psyche, questioning consciousness, free will, the value of relationships, fear, and the limitations of solitude. Tense, gripping, and atmospheric, I’m Thinking of Ending Things pulls you in from the very first page…and never lets you go.

J'ai peur. Je me sens un peu fou. Je ne suis pas lucide. Les hypothèses sont justes. Je sens grandir ma peur. Un garçon et une fille, dans une voiture lancée à travers la campagne enneigée. Il est absorbé par la route, elle est perturbée par des souvenirs brumeux, ainsi que par d'incessants appels provenant de son propre numéro. Parfois, ils parlent. S'aiment-ils ? Quelques heures plus tard, les voilà attablés face à leurs hôtes, ses parents à lui, dans une ferme reculée. La maison est glaciale, la mère se plaint d'entendre des voix, le couple stocke au sous-sol des peintures inquiétantes. Le fossé entre les deux amants se creuse, sous le poids de tous les non-dits. Et il y aussi cette angoisse, qui a point et ne cesse de grossir, jusqu'à ce que se produise l'innommable...

Będziecie się bać przez cały czas. Nie wiedząc dlaczego. Fenomenalnie skonstruowana, wściekle inteligentna powieść łącząca elementy thrillera psychologicznego i horroru, gwarantująca napięcie nie z tej ziemi! Ona i on wyruszają w podróż samochodem. To ma być pierwsza wspólna wizyta u jego rodziców. On diablo inteligentny, szczerze zakochany, ona jeszcze nie jest pewna swoich uczuć. Spotkanie przebiega w dziwnej i mocno niepokojącej atmosferze, która z minuty na minutę coraz bardziej się zagęszcza... Dziwna, intrygująca i mroczna opowieść o meandrach ludzkiej psychiki. Fascynująca rzecz o samotności, strachu i pogmatwanych relacjach, o emocjach, tożsamości, pamięci, prawdzie i fałszu.

A artista plástica Penny morou no mesmo apartamento por décadas, cercada dos artefatos e recordações de sua longa vida. É resignada aos rituais comuns da velhice, até que as coisas começam a lhe escapar. Antes do falecimento de seu parceiro de muitos anos, foram tomadas providências — sem conhecimento de Penny — para a obtenção de um quarto em uma casa de repouso para idosos, onde ela se vê depois de um entre muitos "incidentes". No início, bem-acolhida por seus pares, conversando, comendo, dormindo, olhando a linda floresta que margeia a casa, tudo parece ótimo. Ela até volta a pintar. Mas, à medida que os dias passam a se confundir em um borrão, Penny — com uma inquietude e uma desconfiança crescentes — começa a perder controle da passagem do tempo e de seu lugar no mundo. Será que está sucumbindo aos efeitos sutis e destrutivos do envelhecimento, ou é uma participante involuntária de algo mais perturbador? Em uma história ao mesmo tempo tocante e inquietante, contada numa prosa hipnótica que desafia limites de gênero, o terceiro romance de Iain Reid explora questões de conformidade, arte, produtividade, relacionamentos e do que, em última análise, significa envelhecer.

Meet Iain an overeducated, underemployed twenty-something, living in the big city in a bug-filled basement apartment and struggling to make ends meet. When Iain lands a job at a radio station near his childhood home, he decides to take it. But the work is only part time, so he is forced to move back in with his lovable but eccentric parents on their hobby farm. What starts out as a temporary arrangement turns into a year-long extended stay, in which Iain finds himself fighting with the farm fowl, taking fashion advice from the elderly, fattening up on a gluttonous fare of home-cooked food, and ultimately easing (perhaps a little too comfortably) into the semi-retired, rural lifestyle. A hilarious and heartwarming comic memoir about food, family, and finally growing up, One Bird’s Choice marks the arrival of a funny, original, and fresh new voice.

Now a Netflix original movie, this deeply scary and intensely unnerving novel follows a couple in the midst of a twisted unraveling of the darkest unease. You will be scared. But you won’t know why…I’m thinking of ending things. Once this thought arrives, it stays. It sticks. It lingers. It’s always there. Always. Jake once said, “Sometimes a thought is closer to truth, to reality, than an action. You can say anything, you can do anything, but you can’t fake a thought.” And here’s what I’m thinking: I don’t want to be here. In this smart and intense literary suspense novel, Iain Reid explores the depths of the human psyche, questioning consciousness, free will, the value of relationships, fear, and the limitations of solitude. Tense, gripping, and atmospheric, I’m Thinking of Ending Things pulls you in from the very first page…and never lets you go.

Interno degli Stati Uniti. Una statale silenziosa e vuota, solo profili piatti che si ripetono, un'altalena, un granaio, pecore ferme nella luce del pomeriggio, fienili e campi. Seduta in macchina, sotto la musica country trasmessa dalla radio, la ragazza di Jake guarda la campagna e continua a pensare che deve farla finita con lui; anche se Jake, con quella sua aria svagata e le conversazioni interessanti, in fondo le piace. Ora sono di ritorno dalla casa dei genitori di lui, una fattoria sperduta dove lei ha incontrato per la prima volta quella coppia singolare e visto i recinti lugubri degli animali, un incontro che le ha lasciato addosso una sensazione inafferrabile, come di chi avesse varcato, per il tempo di una sera, la scena di un'allucinazione altrui. Un disagio che peggiora quando Jake, nel mezzo di quel luogo desolato mosso solamente dalla neve in aumento, si ferma in una gelateria, un edificio che emerge, fluorescente, dal buio, le vetrine sbiancate dai neon, e un attimo dopo imbocca una stradina secondaria, parcheggia davanti al suo vecchio liceo chiuso e sparisce all'interno della scuola. Per la sua ragazza, lasciata sola in macchina, ha inizio allora un altro percorso, vertiginoso, nel versante più oscuro della realtà, dove scoprire che fine ha fatto Jake fornirà finalmente la risposta, del tutto imprevedibile, a cosa sia accaduto davvero in questo silenzioso viaggio a due. Un fulminante esordio letterario imbevuto di suggestioni alla David Lynch e da cui è tratto l'atteso film di Netflix per la regia del premio Oscar Charlie Kaufman.

A new work of philosophical suspense. Penny, an artist, has lived in the same apartment for decades, surrounded by the artifacts and keepsakes of her long life. She is resigned to the mundane rituals of old age, until things start to slip. Before her longtime partner passed away years earlier, provisions were made, unbeknownst to her, for a room in a unique long-term care residence, where Penny finds herself after one too many “incidents.” Initially, surrounded by peers, conversing, eating, sleeping, looking out at the beautiful woods that surround the house, all is well. She even begins to paint again. But as the days start to blur together, Penny—with a growing sense of unrest and distrust—starts to lose her grip on the passage of time and on her place in the world. Is she succumbing to the subtly destructive effects of aging, or is she an unknowing participant in something more unsettling? At once compassionate and uncanny, told in spare, hypnotic prose, Iain Reid’s genre-defying third novel explores questions of conformity, art, productivity, relationships, and what, ultimately, it means to grow old.

“คุณจะรู้สึกหวาดกลัว...แต่ไม่รู้ว่าเพราะอะไร” จากการเดินทางไปพบพ่อแม่ของเจค ที่บ้านไร่อันแสนสุขในวัยเด็กของเขา สู่ความแปลกประหลาดน่าสะพรึงของคนในบ้าน และ “ความลับ” ที่ซ่อนอยู่ในห้องใต้ดิน ดูเหมือนการเดินทางครั้งนี้จะมีฉากจบรออยู่แล้ว เป็นฉากที่ถูกตระเตรียมมาเนิ่นนาน รอเพียงแค่ “ตัวละครสุดท้าย” มาร่วมแสดง อยากให้เธออยู่ดูตอนจบด้วยกัน