The Unfortunate Importance of Beauty

The Pygmalion myth recast by one of America’s boldest and most bewitching storytellers.

Anna Graham has one ambition — to be a great actress. The only problem is, she can’t stop being herself. She is proud, stubborn, and moody; according to her acting teacher, she needs to be as bland and pliable as warm wax. Even when she rents a Good Fairy Queen Costume — complete with crown, wand, and wig — and walks the streets of New York City until three thirty in the morning, she fails to be anyone but Anna Graham. “Help,” she thinks, smoking a cigarette in a deserted subway station. “Help!” screams a man at the other end of the platform as two attackers pull him onto the train tracks. Red pepper spray in hand, the Good Fairy Queen rushes to Damon Wetly’s rescue — and Anna’s wish comes true, in the oddest way imaginable.

Locked inside a cage in Wetly’s cloud-filled country home, Anna learns to do everything — walk, talk, think, eat, breathe — differently. When she finally escapes, she becomes a star — as Wetly promised she would. The new-and-improved Anna attracts plenty of admirers — including a paraplegic soap opera celebrity; the world’s most famous supermodel; and a handsome cellist, Weight Watchers counselor, etiquette expert, and exotic dancer named Nathaniel Powers — but she only has eyes for her former captor, the creator of miniature clouds and major actresses. Just when it seems that her fairy tale ending is right around the corner, Anna’s whole world threatens to evaporate into thin air.

Fearless and fascinating, holds a funhouse mirror up to some of our deepest and most alluring notions about fame, identity, and desire.

A New York love story as seductively neurotic as the city itself.

At thirty-two years old, Lynn Gallagher is one of the five most influential contemporary-art gallery owners in Manhattan. Too bad her face is dead. Not so, says Lynn’s assistant, but that is how it feels when she compares it to her stalker’s face. Alan Morton may be a plump, goofy-looking accountant, but his face glows with life when he peers at Lynn through her gallery window. The difference is that Alan wants something — her — very badly, while Lynn wants nothing at all.

So she decides to stalk.

The object of her obsession — French attorney Roland Dupont — is chosen at random in a Chelsea bakery. He is attractive, but it is not until he expresses his disinterest in her that Lynn begins to truly desire him. Alan, jealous of Lynn’s newfound hobby, befriends Roland to find out what she sees in him. When Roland learns that he acquired his stalker by happenstance, he decides that he might be interested in Lynn after all. Soon all three are brazenly pursuing each other across the city — from adult education classes in the art of beading to meetings of Stalker’s Anonymous — as they try to figure out what it is that they truly want. The advice of Ray, the homeless psychologist who observes their madcap comings and goings, is not much help at all: “Take a break, an antidepressant. Get hold of yourselves.”

A hip and darkly humorous novel about the mysteries of romance, is pure Amanda Filipacchi — funny, wicked, and wise.

Мощный дебют американки французского происхождения, сочетающий в себе парижский шик и бешеный драйв Манхэттена.

Это очень странная книга. Книга-загадка, перевертыш, книга с оптической иллюзией. Только что она была убийственно смешной комедией – и вот уже за иронией приоткрываются зияющие тайны бытия. Из каждого окна выглядывают обнаженные мужчины – изысканно-беспечные красавцы или неуверенные в себе невротики, они в любом случае несут фатальные известия. Логически просчитанная порочность «Лолиты» сменяется жутковатым кафкианским гротеском и утонченным кошмаром «Портрета Дориана Грея». Чем обернется эта книга для вас – решать вам.