Little

A Novel

Look inside
$18.00 US
Penguin Adult HC/TR | Riverhead Books
24 per carton
On sale Oct 22, 2019 | 978-0-525-53433-4
Sales rights: US,CAN,OpnMkt(no EU)
LONGLISTED FOR THE INTERNATIONAL DUBLIN LITERARY AWARD
LONGLISTED FOR THE RSL ONDAATJE PRIZE
LONGLISTED FOR THE WALTER SCOTT PRIZE FOR HISTORICAL FICTION
LONGLISTED FOR THE RATHBONES FOLIO PRIZE

"An amazing achievement. . . A compulsively readable novel, so canny and weird and surfeited with the reality of human capacity and ingenuity that I am stymied for comparison. Dickens and David Lynch? Defoe meets Margaret Atwood? Judge for yourself." —Gregory Maguire, New York Times-bestselling author of Wicked


The wry, macabre, unforgettable tale of an ambitious orphan in Revolutionary Paris, befriended by royalty and radicals, who transforms herself into the legendary Madame Tussaud.


In 1761, a tiny, odd-looking girl named Marie is born in a village in Switzerland. After the death of her parents, she is apprenticed to an eccentric wax sculptor and whisked off to the seamy streets of Paris, where they meet a domineering widow and her quiet, pale son. Together, they convert an abandoned monkey house into an exhibition hall for wax heads, and the spectacle becomes a sensation. As word of her artistic talent spreads, Marie is called to Versailles, where she tutors a princess and saves Marie Antoinette in childbirth. But outside the palace walls, Paris is roiling: The revolutionary mob is demanding heads, and . . . at the wax museum, heads are what they do.

In the tradition of Gregory Maguire's Wicked and Erin Morgenstern's The Night Circus, Edward Carey's Little is a darkly endearing cavalcade of a novel—a story of art, class, determination, and how we hold on to what we love.

In which I am born and in which I describe my mother and father.

In the same year that the five-year-old Wolfgang Amadeus Mozart wrote his Minuet for Harpsichord, in the precise year when the British captured Pondicherry in India from the French, in the exact year in which the melody for "Twinkle, Twinkle, Little Star" was first published, in that very year, which is to say 1761, whilst in the city of Paris people at their salons told tales of beasts in castles and men with blue beards and beauties that would not wake and cats in boots and slippers made of glass and youngest children with tufts in their hair and daughters wrapped in donkey skin, and whilst in London people at their clubs discussed the coronation of King George III and Queen Charlotte: many miles away from all this activity, in a small village in Alsace, in the presence of a ruddy midwife, two village maids, and a terrified mother, was born a certain undersized baby.

Anne Marie Grosholtz was the name given to that hurriedly christened child, though I would be referred to simply as Marie. I was not much bigger, at first, than the size of my mother's little hands put together, and I was not expected to live very long. And yet, after I survived my first night, I went on, despite contrary predictions, to breathe through my first week. After that my heart still kept time, without interruption, throughout my first month. Pigheaded, pocket-sized thing.

My lonely mother was eighteen years old at my birth, a small woman, a little under five foot, marked by being the daughter of a priest. This priest, my grandfather, made a widower by smallpox, had been a very strict man, a fury in black cloth, who never let his daughter out of his sight. After he died, my mother's life changed. Mother began to meet people, villagers who called upon her, and among them was a soldier. This soldier, a bachelor somewhat beyond the customary age, possessing a somber temperament brought on by witnessing so many appalling things and losing so many soldier friends, took a fancy to Mother; he thought they could be happy, so to speak, being sad together. Her name was Anna-Maria Waltner. His name was Joseph Georg Grosholtz. They were married. My mother and my father. Here was loving and here was joy.

My mother had a large nose, in the Roman style. My father, I believe, had a strong chin that pointed a little upward. That chin and that nose, it seems, fitted together. After a little while, however, Father's furlough was over, and he returned to war. Mother's nose and Father's chin had known each other for three weeks.

To begin with, for always, there was love. The love my father and mother had for each other was forever present on my face. I was born with both the Waltner nose and the Grosholtz chin. Each attribute was a noteworthy thing on its own, and nicely gave character to the faces of those two families; combined, the result was a little ungainly, as if I were showing more flesh than was my personal due. Children will grow how they will. Some distinguish themselves as prodigies of hair growth, or cut teeth at a wonderfully young age; some are freckled all over; others arrive so pale that their white nakedness is a shock to all who witness it. I nosed and chinned my way into life. I was, certainly, unaware then of what extraordinary bodies I should come to know, of what vast buildings I would inhabit, of what bloody events I would find myself trapped within, and yet, it seems to me, my nose and my chin already had some inkling of it all. Nose and chin, such an armor for life. Nose and chin, such companions.

Since girls of my stamp were not schooled, it was Mother who gave me education through God. The Bible was my primer. Elsewise, I fetched in logs, looked for kindling in the woods, washed plates and clothes, cut vegetables, fetched meat. I swept. I cleaned. I carried. I was always busy. Mother taught me industry. If my mother was busy, she was happy; it was when she stopped that uncertainty caught up with her, only to be dispelled by some new activity. She was constantly in motion, and movement suited her well.

"Discover," she would say, "what you can do. You'll always find something. One day your father will return, and he'll see what a good and useful child you are."

"Thank you, Mother. I shall be most useful, I do wish it."

"What a creature you are!"

"Am I? A creature?"

"Yes, my own little creature."

Mother brushed my hair with extraordinary vigor. Sometimes she touched my cheek or patted my bonnet. She was probably not very beautiful, but I thought her so. She had a small mole just beneath one of her eyelids. I wish I could remember her smile. I do know she had one.

By the age of five I had grown to the height of the old dog in the house next to ours. Later I would be the height of doorknobs, which I liked to rub. Later still, and here I would stop, I would be the height of many people's hearts. Women observing me in the village were sometimes heard to mutter, as they kissed me, "Finding a husband will not be easy."

On my fifth birthday, my dear mother gave me a doll. This was Marta. I named her myself. I knew her little body, about a sixth the size of my own; I learned it entirely as I moved it about, sometimes roughly, sometimes with great tenderness. She came to me naked and without a face. She was a collection of seven wooden pegs, which could be assembled in a certain order to roughly resemble the human figure. Marta, save my mother, was my first intimate connection with the world; I was never without her. We were happy together: Mother, Marta, and me.

Praise for Little and Edward Carey
 
“A strange and tender parable . . . All of Edward Carey's work is profound and delightful.” —Max Porter, author of Lanny

“[A] marvelous, weird, and vividly imagined new novel. .  . A fantastic winter tale, a big, patient read full of reversals of fortune and fabulous glimpses of a time not unlike our own when a new technology of likeness brought the giants of media and politics closer than ever, with its promises of a kind of immortality. Subtly, without calling attention to it, Carey has woven a beautiful parable about the power of that proximity. How we rage to bring the world above and around us down to our size, and yet when we do, the big questions remain: How and who to love? How to be decent? How to be fair?” —Boston Globe

“I marvel at the achievement of this book. . . . It's about humans, and bodies, and art, and loneliness. . . . I could talk about it forever.” —NPR

“Carey devises a dazzlingly detailed portrait of Paris on the brink of revolution and includes his own haunting illustrations...Reminiscent of Dickens, Defoe and Fielding, Little speaks eloquently of the pleasures and perils of art, commerce and identity.” San Francisco Chronicle

“A wonderfully empathetic and stirring narrator, Carey conjures up a tumultuous world you’ll be sorry to leave.” People

“A delightfully strange portrait of a young orphan honing her eccentric craft amid the tumult of the French Revolution. Carey’s flair for macabre whimsy has drawn comparisons to Tim Burton (take a look at the illustrations and you can see why). While death haunts this story, between vibrant characters and riveting historical detail, Little is a novel that teems with life.” Time 

“Marie’s story . . . is a fascinating thing in itself. But Carey’s talent makes her journey a thing of wonder.” —Danielle Trussoni, New York Times Book Review
 

“[A] sweeping, Dickensian reimagining of the true story of Marie Grosholtz, the French orphan born in the 18th century who would go on to become iconic wax sculptress Madame Tussaud. Reader, you will just melt.” Entertainment Weekly “Must List” 

“This is a book so...vibrant with delight in language that it's difficult to do it justice. Suffice it to say that Carey, in the disarmingly engaging voice of his heroine, can make even a list of wax-working tools seem charmed.”—Minneapolis Star-Tribune

“A dark, fascinating, and peculiar story about art and class before and after the French Revolution.” —Real Simple

Little is quirky, eccentric, offbeat, Gothic and all the other descriptives fondly applied to Carey's peculiarly elegant prose… Thanks to Edward Carey's gift for celebrating the bizarre, Madame Tussaud's story is at last in the right hands.” Dallas Morning News

“This curiosity-filled novel about the life of Madame Tussaud is enlivened with old-timey illustrations by Carey himself... A must-read for anyone who’s ever visited Madame Tussauds wax museum in London or any of its other 20 outposts around the world.” National Geographic

“The beautifully told (and illustrated!) story of the life of Marie Tussaud, or how tall trees can grow from small seeds. An eccentric atmosphere, a macabre sense of humour, we experience this book with a sense of youthful joy. An unmissable book.” —Olga Tokarczuk

“Edward Carey writes wonderfully weird books about wonderfully weird things. This one imagines the life of Madame Tussaud—of wax museum fame—as a little girl. It’s a hefty historical novel that promises to be a pageturner, too.” Celeste Ng

“[A] rich, engrossing novel . . . visceral, vivid and moving.”The Guardian (UK) 
 

“One of the most original historical novels of the year. . . . Macabre, funny, touching and oddly life-affirming, Little is a remarkable achievement.” The Times (London)

“An irresistible tale, Little will please all readers, especially those who love period adventures and old-fashioned stories of triumph over human folly.” BookPage (Top Pick)

“This is a rare gem of a book, lacking absolutely nothing. Beautifully written, fully realized and truly engrossing, Little can be read again and again.” BookBrowse

“Dark and delightful, playful and peculiar, Little is Edward Carey's absorbing, fictional re-creation of Madame Tussaud's early life… Carey's spirited style brings a lightness to Marie's bleak days and a whimsy to her brighter ones. He blends dark humor with a puckish tone for a story that's simply magnetic… Little is big in many ways: creativity, energy, concept and character. Leave plenty of room in your heart for this one; you'll need it.” —Shelf Awareness

“A startlingly original novel.” —The Times of London, Book of the Month 

“Completely, wickedly, addictive. . . . Variously nightmarish, dreamy, sensual, emotionally affecting, and very funny.”  —The Big Issue (UK)

“A wildly creative reimagining of the work and life of an artist more associated with George Clooney than Maximilien Robespierre. Admirers of Gregory Maguire will be delighted.” –Library Journal (starred)

“Carey channels the ghosts of Charles Dickens, Henry Fielding, and the Brothers Grimm to tell Marie's tale, populating it with grotesques and horrors worthy of Madame Tussaud's celebrated wax museum… A quirky, compelling story that deepens into a meditation on mortality and art.” —Kirkus Reviews (starred)

“There is nothing ordinary about this book, in which everything animate and inanimate lives, breathes, and remembers. Carey, with sumptuous turns of phrase, fashions a fantastical world that churns with vitality, especially his “Little,” a female Candide at once surreal and full of heart.”  Publisher's Weekly (starred)

“An immensely creative epic…Mingling a sense of playfulness with macabre history, Carey depicts the excesses of wealth and violence during the French Revolution through the eyes of a talented woman who lived through it and survived…The unique perspective, witty narrative voice, and clever illustrations make for an irresistible read.” —Booklist (starred)

“Don’t miss this eccentric charmer! Little, by Edward Carey, narrated by Madame Tussaud of waxworks fame, [on] her strange life and times, including the almost fatal French Revolution, a prime season for heads.” —Margaret Atwood, on Twitter
 
Little is bawdy, tragic, mesmerizing, hilarious. If you’ve forgotten why you’d even read a novel, Edward Carey is here to set you straight.” —Alexander Chee
 
Little is exquisitely sensitive to all the warmth, vigor, humor, woe, and peculiarities of human nature, as if the writer had a dowsing rod capable of divining what hides within the human heart. Carey is without peer.” —Kelly Link

“A deliciously disturbing treasure of a novel. Sensual, unassumingly poignant, heartbreaking, cruel, joyous: Edward Carey’s Little is a triumph and one of the most intoxicating novels I’ve read. I never wanted to leave Marie’s side.” —Sarah Schmidt

“An amazing achievement…A compulsively readable novel, so canny and weird and surfeited with the reality of human capacity and ingenuity that I am stymied for comparison. Dickens and David Lynch? Defoe meets Margaret Atwood? Judge for yourself.”
—Gregory Maguire


About

LONGLISTED FOR THE INTERNATIONAL DUBLIN LITERARY AWARD
LONGLISTED FOR THE RSL ONDAATJE PRIZE
LONGLISTED FOR THE WALTER SCOTT PRIZE FOR HISTORICAL FICTION
LONGLISTED FOR THE RATHBONES FOLIO PRIZE

"An amazing achievement. . . A compulsively readable novel, so canny and weird and surfeited with the reality of human capacity and ingenuity that I am stymied for comparison. Dickens and David Lynch? Defoe meets Margaret Atwood? Judge for yourself." —Gregory Maguire, New York Times-bestselling author of Wicked


The wry, macabre, unforgettable tale of an ambitious orphan in Revolutionary Paris, befriended by royalty and radicals, who transforms herself into the legendary Madame Tussaud.


In 1761, a tiny, odd-looking girl named Marie is born in a village in Switzerland. After the death of her parents, she is apprenticed to an eccentric wax sculptor and whisked off to the seamy streets of Paris, where they meet a domineering widow and her quiet, pale son. Together, they convert an abandoned monkey house into an exhibition hall for wax heads, and the spectacle becomes a sensation. As word of her artistic talent spreads, Marie is called to Versailles, where she tutors a princess and saves Marie Antoinette in childbirth. But outside the palace walls, Paris is roiling: The revolutionary mob is demanding heads, and . . . at the wax museum, heads are what they do.

In the tradition of Gregory Maguire's Wicked and Erin Morgenstern's The Night Circus, Edward Carey's Little is a darkly endearing cavalcade of a novel—a story of art, class, determination, and how we hold on to what we love.

Excerpt

In which I am born and in which I describe my mother and father.

In the same year that the five-year-old Wolfgang Amadeus Mozart wrote his Minuet for Harpsichord, in the precise year when the British captured Pondicherry in India from the French, in the exact year in which the melody for "Twinkle, Twinkle, Little Star" was first published, in that very year, which is to say 1761, whilst in the city of Paris people at their salons told tales of beasts in castles and men with blue beards and beauties that would not wake and cats in boots and slippers made of glass and youngest children with tufts in their hair and daughters wrapped in donkey skin, and whilst in London people at their clubs discussed the coronation of King George III and Queen Charlotte: many miles away from all this activity, in a small village in Alsace, in the presence of a ruddy midwife, two village maids, and a terrified mother, was born a certain undersized baby.

Anne Marie Grosholtz was the name given to that hurriedly christened child, though I would be referred to simply as Marie. I was not much bigger, at first, than the size of my mother's little hands put together, and I was not expected to live very long. And yet, after I survived my first night, I went on, despite contrary predictions, to breathe through my first week. After that my heart still kept time, without interruption, throughout my first month. Pigheaded, pocket-sized thing.

My lonely mother was eighteen years old at my birth, a small woman, a little under five foot, marked by being the daughter of a priest. This priest, my grandfather, made a widower by smallpox, had been a very strict man, a fury in black cloth, who never let his daughter out of his sight. After he died, my mother's life changed. Mother began to meet people, villagers who called upon her, and among them was a soldier. This soldier, a bachelor somewhat beyond the customary age, possessing a somber temperament brought on by witnessing so many appalling things and losing so many soldier friends, took a fancy to Mother; he thought they could be happy, so to speak, being sad together. Her name was Anna-Maria Waltner. His name was Joseph Georg Grosholtz. They were married. My mother and my father. Here was loving and here was joy.

My mother had a large nose, in the Roman style. My father, I believe, had a strong chin that pointed a little upward. That chin and that nose, it seems, fitted together. After a little while, however, Father's furlough was over, and he returned to war. Mother's nose and Father's chin had known each other for three weeks.

To begin with, for always, there was love. The love my father and mother had for each other was forever present on my face. I was born with both the Waltner nose and the Grosholtz chin. Each attribute was a noteworthy thing on its own, and nicely gave character to the faces of those two families; combined, the result was a little ungainly, as if I were showing more flesh than was my personal due. Children will grow how they will. Some distinguish themselves as prodigies of hair growth, or cut teeth at a wonderfully young age; some are freckled all over; others arrive so pale that their white nakedness is a shock to all who witness it. I nosed and chinned my way into life. I was, certainly, unaware then of what extraordinary bodies I should come to know, of what vast buildings I would inhabit, of what bloody events I would find myself trapped within, and yet, it seems to me, my nose and my chin already had some inkling of it all. Nose and chin, such an armor for life. Nose and chin, such companions.

Since girls of my stamp were not schooled, it was Mother who gave me education through God. The Bible was my primer. Elsewise, I fetched in logs, looked for kindling in the woods, washed plates and clothes, cut vegetables, fetched meat. I swept. I cleaned. I carried. I was always busy. Mother taught me industry. If my mother was busy, she was happy; it was when she stopped that uncertainty caught up with her, only to be dispelled by some new activity. She was constantly in motion, and movement suited her well.

"Discover," she would say, "what you can do. You'll always find something. One day your father will return, and he'll see what a good and useful child you are."

"Thank you, Mother. I shall be most useful, I do wish it."

"What a creature you are!"

"Am I? A creature?"

"Yes, my own little creature."

Mother brushed my hair with extraordinary vigor. Sometimes she touched my cheek or patted my bonnet. She was probably not very beautiful, but I thought her so. She had a small mole just beneath one of her eyelids. I wish I could remember her smile. I do know she had one.

By the age of five I had grown to the height of the old dog in the house next to ours. Later I would be the height of doorknobs, which I liked to rub. Later still, and here I would stop, I would be the height of many people's hearts. Women observing me in the village were sometimes heard to mutter, as they kissed me, "Finding a husband will not be easy."

On my fifth birthday, my dear mother gave me a doll. This was Marta. I named her myself. I knew her little body, about a sixth the size of my own; I learned it entirely as I moved it about, sometimes roughly, sometimes with great tenderness. She came to me naked and without a face. She was a collection of seven wooden pegs, which could be assembled in a certain order to roughly resemble the human figure. Marta, save my mother, was my first intimate connection with the world; I was never without her. We were happy together: Mother, Marta, and me.

Praise

Praise for Little and Edward Carey
 
“A strange and tender parable . . . All of Edward Carey's work is profound and delightful.” —Max Porter, author of Lanny

“[A] marvelous, weird, and vividly imagined new novel. .  . A fantastic winter tale, a big, patient read full of reversals of fortune and fabulous glimpses of a time not unlike our own when a new technology of likeness brought the giants of media and politics closer than ever, with its promises of a kind of immortality. Subtly, without calling attention to it, Carey has woven a beautiful parable about the power of that proximity. How we rage to bring the world above and around us down to our size, and yet when we do, the big questions remain: How and who to love? How to be decent? How to be fair?” —Boston Globe

“I marvel at the achievement of this book. . . . It's about humans, and bodies, and art, and loneliness. . . . I could talk about it forever.” —NPR

“Carey devises a dazzlingly detailed portrait of Paris on the brink of revolution and includes his own haunting illustrations...Reminiscent of Dickens, Defoe and Fielding, Little speaks eloquently of the pleasures and perils of art, commerce and identity.” San Francisco Chronicle

“A wonderfully empathetic and stirring narrator, Carey conjures up a tumultuous world you’ll be sorry to leave.” People

“A delightfully strange portrait of a young orphan honing her eccentric craft amid the tumult of the French Revolution. Carey’s flair for macabre whimsy has drawn comparisons to Tim Burton (take a look at the illustrations and you can see why). While death haunts this story, between vibrant characters and riveting historical detail, Little is a novel that teems with life.” Time 

“Marie’s story . . . is a fascinating thing in itself. But Carey’s talent makes her journey a thing of wonder.” —Danielle Trussoni, New York Times Book Review
 

“[A] sweeping, Dickensian reimagining of the true story of Marie Grosholtz, the French orphan born in the 18th century who would go on to become iconic wax sculptress Madame Tussaud. Reader, you will just melt.” Entertainment Weekly “Must List” 

“This is a book so...vibrant with delight in language that it's difficult to do it justice. Suffice it to say that Carey, in the disarmingly engaging voice of his heroine, can make even a list of wax-working tools seem charmed.”—Minneapolis Star-Tribune

“A dark, fascinating, and peculiar story about art and class before and after the French Revolution.” —Real Simple

Little is quirky, eccentric, offbeat, Gothic and all the other descriptives fondly applied to Carey's peculiarly elegant prose… Thanks to Edward Carey's gift for celebrating the bizarre, Madame Tussaud's story is at last in the right hands.” Dallas Morning News

“This curiosity-filled novel about the life of Madame Tussaud is enlivened with old-timey illustrations by Carey himself... A must-read for anyone who’s ever visited Madame Tussauds wax museum in London or any of its other 20 outposts around the world.” National Geographic

“The beautifully told (and illustrated!) story of the life of Marie Tussaud, or how tall trees can grow from small seeds. An eccentric atmosphere, a macabre sense of humour, we experience this book with a sense of youthful joy. An unmissable book.” —Olga Tokarczuk

“Edward Carey writes wonderfully weird books about wonderfully weird things. This one imagines the life of Madame Tussaud—of wax museum fame—as a little girl. It’s a hefty historical novel that promises to be a pageturner, too.” Celeste Ng

“[A] rich, engrossing novel . . . visceral, vivid and moving.”The Guardian (UK) 
 

“One of the most original historical novels of the year. . . . Macabre, funny, touching and oddly life-affirming, Little is a remarkable achievement.” The Times (London)

“An irresistible tale, Little will please all readers, especially those who love period adventures and old-fashioned stories of triumph over human folly.” BookPage (Top Pick)

“This is a rare gem of a book, lacking absolutely nothing. Beautifully written, fully realized and truly engrossing, Little can be read again and again.” BookBrowse

“Dark and delightful, playful and peculiar, Little is Edward Carey's absorbing, fictional re-creation of Madame Tussaud's early life… Carey's spirited style brings a lightness to Marie's bleak days and a whimsy to her brighter ones. He blends dark humor with a puckish tone for a story that's simply magnetic… Little is big in many ways: creativity, energy, concept and character. Leave plenty of room in your heart for this one; you'll need it.” —Shelf Awareness

“A startlingly original novel.” —The Times of London, Book of the Month 

“Completely, wickedly, addictive. . . . Variously nightmarish, dreamy, sensual, emotionally affecting, and very funny.”  —The Big Issue (UK)

“A wildly creative reimagining of the work and life of an artist more associated with George Clooney than Maximilien Robespierre. Admirers of Gregory Maguire will be delighted.” –Library Journal (starred)

“Carey channels the ghosts of Charles Dickens, Henry Fielding, and the Brothers Grimm to tell Marie's tale, populating it with grotesques and horrors worthy of Madame Tussaud's celebrated wax museum… A quirky, compelling story that deepens into a meditation on mortality and art.” —Kirkus Reviews (starred)

“There is nothing ordinary about this book, in which everything animate and inanimate lives, breathes, and remembers. Carey, with sumptuous turns of phrase, fashions a fantastical world that churns with vitality, especially his “Little,” a female Candide at once surreal and full of heart.”  Publisher's Weekly (starred)

“An immensely creative epic…Mingling a sense of playfulness with macabre history, Carey depicts the excesses of wealth and violence during the French Revolution through the eyes of a talented woman who lived through it and survived…The unique perspective, witty narrative voice, and clever illustrations make for an irresistible read.” —Booklist (starred)

“Don’t miss this eccentric charmer! Little, by Edward Carey, narrated by Madame Tussaud of waxworks fame, [on] her strange life and times, including the almost fatal French Revolution, a prime season for heads.” —Margaret Atwood, on Twitter
 
Little is bawdy, tragic, mesmerizing, hilarious. If you’ve forgotten why you’d even read a novel, Edward Carey is here to set you straight.” —Alexander Chee
 
Little is exquisitely sensitive to all the warmth, vigor, humor, woe, and peculiarities of human nature, as if the writer had a dowsing rod capable of divining what hides within the human heart. Carey is without peer.” —Kelly Link

“A deliciously disturbing treasure of a novel. Sensual, unassumingly poignant, heartbreaking, cruel, joyous: Edward Carey’s Little is a triumph and one of the most intoxicating novels I’ve read. I never wanted to leave Marie’s side.” —Sarah Schmidt

“An amazing achievement…A compulsively readable novel, so canny and weird and surfeited with the reality of human capacity and ingenuity that I am stymied for comparison. Dickens and David Lynch? Defoe meets Margaret Atwood? Judge for yourself.”
—Gregory Maguire