Сара Мосс – лучшие книги

Тончайшая и пронзительная история взросления в особенной атмосфере прерафаэлитизма. Алли умна, прилежна и ведет нескончаемую — и неизменно безуспешную — битву за одобрение и привязанность своей матери. Ее мать Элизабет одержима миссией — накормить страждущих и спасти падших, и воспитание дочерей для нее — это соблюдение правил, дисциплина и аскеза во всем. Даже когда Алли получает стипендию и становится одной из первых женщин, изучающих медицину, мать остается равнодушна к успеху дочери. Роман Сары Мосс – о попытках женщины вырваться из цепей запретов и установок. Это не столько история о зарождении феминизма, сколько погружение в мир…

„Niesamowita opowieść… Jednocześnie niepokoi i porusza”. „The Times”
Ojciec Silvie jest kierowcą autobusu, ale jego prawdziwa pasja to historia Wielkiej Brytanii. W trakcie letniego urlopu zabiera żonę i nastoletnią Silvie na obóz antropologiczny, którego uczestnicy odtwarzają życie w epoce żelaza wraz ze wszystkimi niedogodnościami. Obóz ma charakter naukowy, jednak zaciętość i bezkompromisowy charakter ojca Silvie sprawiają, że przeradza się on w spektakl dominacji mężczyzny nad rodziną. Pasja staje się obsesją, która prowadzi do ślepej wiary w konieczność praktykowania dawnych rytuałów, nawet za cenę ludzkiego życia.
Sarah Moss powraca do tematu rodzicielstwa, odkrywając jego mroczną stronę oraz wciąż niesłabnącą siłę patriarchatu. Bezradność ofiar miesza się z ich niewypowiedzianym pragnieniem buntu. A pytanie o sprawiedliwość rozbrzmiewa na równi z uznaniem dla literackiego talentu Moss.
Ta wyprawa do prehistorii pokazuje, jak bardzo wiedza zapisana jest w naszych ciałach. Oraz władza. Władza ojca i ciało córki to główni bohaterowie tej opowieści o archeologicznym surwiwalu.
Kinga Dunin
To opowieść o murach, jakie budujemy wokół siebie, bojąc się wszelkiej inności. Sarah Moss posiada umiejętność opowiadania o wielkich sprawach przez pryzmat pozornie zwykłych zdarzeń, zwyczajnych ludzi i codziennych problemów.
Anna Dziewit-Meller

On the longest day of the summer, twelve people sit cooped up with their families in a faded Scottish cabin park. The endless rain leaves them with little to do but watch the other residents.

A woman goes running up the Ben as if fleeing; a retired couple reminisce about neighbours long since moved on; a teenage boy braves the dark waters of the loch in his red kayak. Each person is wrapped in their own cares but increasingly alert to the makeshift community around them. One particular family, a mother and daughter without the right clothes or the right manners, starts to draw the attention of the others. Tensions rise and all watch on, unaware of the tragedy that lies ahead as night finally falls.

Adam is a stay-at-home dad who is also working on a history of the bombing and rebuilding of Coventry Cathedral. He is a good man and he is happy. But one day, he receives a call from his daughter's school to inform him that, for no apparent reason, fifteen-year-old Miriam has collapsed and stopped breathing. In that moment, he is plunged into a world of waiting, agonising, not knowing. The story of his life and the lives of his family are rewritten and re-told around this shocking central event, around a body that has inexplicably failed. In this exceptionally courageous and unflinching novel of contemporary life Sarah Moss goes where…

Only weeks into their marriage a young couple embark on a six-month period of separation. Tom Cavendish goes to Japan to build lighthouses and his wife Ally, Doctor Moberley-Cavendish, stays and works at the Truro asylum. As Ally plunges into the institutional politics of mental health, Tom navigates the social and professional nuances of late 19th century Japan. With her unique blend of emotional insight and intellectual profundity, Sarah Moss builds a novel in two parts from Falmouth to Tokyo, two maps of absence; from Manchester to Kyoto, two distinct but conjoined portraits of loneliness and determination.

An exquisite continuation of the story of Bodies of Light, Signs for Lost Children will amaze Sarah Moss's many fans.

Historian Anna Bennett has a book to write. She also has an insomniac toddler, a precocious, death-obsessed seven-year-old, and a frequently absent ecologist husband who has brought them all to Colsay, a desolate island in the Hebrides, so he can count the puffins. Ferociously sleep-deprived, torn between mothering and her desire for the pleasures of work and solitude, Anna becomes haunted by the discovery of a baby's skeleton in the garden of their house. Her narrative is punctuated by letters home, written 200 years before, by May, a young, middle-class midwife desperately trying to introduce modern medicine to the suspicious, insular islanders. The lives of these two characters intersect unexpectedly in this deeply moving but also at times blackly funny story about maternal ambivalence, the way we try to control children, and about women's vexed and passionate relationship with work. Moss's second novel displays an exciting expansion of her range - showing her to be both an excellent comic writer and a novelist of great emotional depth.

Novelist Sarah Moss had a childhood dream of moving to Iceland, sustained by a wild summer there when she was nineteen. In 2009, she saw an advertisement for a job at the University of Iceland and applied on a whim, despite having two young children and a comfortable life in an English cathedral city. The resulting adventure was shaped by Iceland's economic collapse, which halved the value of her salary, by the eruption of Eyjafjallajökull and by a collection of new friends, including a poet who saw the only bombs fall on Iceland in 1943, a woman who speaks to elves and a chef who guided Sarah's family around the intricacies of Icelandic cuisine.

Sarah was drawn to the strangeness of Icelandic landscape, and explored hillsides of boiling mud, volcanic craters and fissures, and the unsurfaced roads that link remote farms and fishing villages in the far north. She walked the coast path every night after her children were in bed, watching the northern lights and the comings and goings of migratory birds. As the weeks and months went by, the children settled in local schools and Sarah got to know her students and colleagues, she and her family learned new ways to live.

At dusk on a November evening in 2020 a woman slips out of her garden gate and turns up the hill. Kate is in the middle of a two-week quarantine period, but she just can't take it any more - the closeness of the air in her small house, the confinement. And anyway, the moor will be deserted at this time. Nobody need ever know.
But Kate's neighbour Alice sees her leaving and Matt, Kate's son, soon realizes she's missing. And Kate, who planned only a quick solitary walk - a breath of open air - falls and badly injures herself. What began as a furtive walk has turned into a mountain rescue operation…
Unbearably suspenseful, witty and wise, The Fell asks probing questions about the place the world has become since March 2020, and the place it was before. This novel is a story about compassion and kindness and what we must do to survive, and it will move you to tears.

A team of six archaeologists from the United States, England, and Scotland assembles at the beginning of the Arctic summer to unearth traces of the lost Viking settlements in Greenland. But as they sink into uneasy domesticity, there is news of an epidemic back home, and their communications with the outside world fall away. Facing a Greenland winter for which they are hopelessly ill-equipped, Nina, Ruth, Catriona, Jim, Ben, and Yianni, knowing that their missives may never reach their loved ones, write final letters home. These letters make up the narrative of Cold Earth, with each section of the book composed of one character’s first-person perspective in letter form.
In this exceptional and haunting debut novel, Moss weaves a rich tapestry of personal narrative, history, love, grief, and naked survival. Cold Earth is both a heart-pounding thriller and a highly sophisticated novel of ideas.