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Simultaneously, I'm shocked and scandalized. She's brilliant, this young woman.\"--David Sedaris\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e Ottessa Moshfegh's debut novel \u003ci\u003eEileen\u003c\/i\u003e was one of the literary events of 2015. Garlanded with critical acclaim, it was named a book of the year by \u003ci\u003eThe Washington Post\u003c\/i\u003e and the \u003ci\u003eSan Francisco Chronicle\u003c\/i\u003e, nominated for a National Book Critics Circle Award, short-listed for the Man Booker Prize, and won the PEN\/Hemingway Award for debut fiction. But as many critics noted, Moshfegh is particularly held in awe for her short stories. \u003ci\u003eHomesick for Another World\u003c\/i\u003e is the rare case where an author's short story collection is if anything more anticipated than her novel.\u003cbr\u003e \u003cbr\u003e And for good reason. There's something eerily unsettling about Ottessa Moshfegh's stories, something almost dangerous, while also being delightful, and even laugh-out-loud funny. Her characters  are all unsteady on their feet in one way or another; they all yearn for connection and betterment, though each in very different ways, but they are often tripped up by their own baser impulses and existential insecurities. \u003ci\u003eHomesick for Another World\u003c\/i\u003e is a master class in the varieties of self-deception across the gamut of individuals representing the human condition. But part of the unique quality of her voice, the echt Moshfeghian experience, is the way the grotesque and the outrageous are infused with tenderness and compassion.  Moshfegh is our Flannery O'Connor, and \u003ci\u003eHomesick for Another World\u003c\/i\u003e is her \u003ci\u003eEverything That Rises Must Converge\u003c\/i\u003e or \u003ci\u003eA Good Man is Hard to Find\u003c\/i\u003e. 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Through a mix of witchery, deception, murder, abuse, grand delusion, ludicrous conversations, and cringeworthy moments of bodily disgust, Moshfegh creates a world that you definitely don't want to live in, but from which you can't look away. \u003cb\u003e--\u003ci\u003eThe Atlantic\u003c\/i\u003e\u003c\/b\u003e \u003cp\u003e\u003c\/p\u003eIn a village in a medieval fiefdom buffeted by natural disasters, a motherless shepherd boy finds himself the unlikely pivot of a power struggle that puts all manner of faith to a savage test, in a spellbinding novel that represents Ottessa Moshfegh's most exciting leap yet \u003cp\u003e\u003c\/p\u003eLittle Marek, the abused and delusional son of the village shepherd, never knew his mother; his father told him she died in childbirth. One of life's few consolations for Marek is his enduring bond with the blind village midwife, Ina, who suckled him when he was a baby, as she did so many of the village's children. 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That man may have been his best friend. Intolerable memory accompanies sobriety. A-sail on the high seas of literary tradition, Ottessa Moshfegh gives us a nasty heartless blackguard on a knife-sharp voyage through the fogs of recollection.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eThey said I've done something wrong? . . . And they've just left me down here to starve. They'll see this inanition and be so damned they'll fall to my feet and pass up hot cross buns slathered in fresh butter and beg I forgive them. All of them . . .: the entire world one by one. Like a good priest I'll pat their heads and nod. I'll dunk my skull into a barrel of gin.\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eOttessa Moshfegh\u003c\/b\u003e was awarded the 2013 Plimpton Discovery Prize for her stories in the \u003ci\u003eParis Review\u003c\/i\u003e and a creative writing fellowship from the National Endowment for the Arts. 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