PositiveColumbia JournalAs with Moshfegh-ian characters past, what’s remarkable here is the treatment of a narrative: Vesta seems at once out-of-sorts and yet only a filter removed from our consciousness ... This idea of requisite improvisation runs as an undercurrent through much of Death in Her Hands, as Moshfegh captures the interiors of a woman without a plan. She writes her problem narrator in clean, crisp sentences; with command and control. She writers a version of us that is us, but freer.
Image by Gerd Altmann from Pixabay[/caption]
