Foulsham - Couverture souple

Praise for HEAP HOUSE:

A 2014 New York Times Notable Book!
A Kirkus "Best Teen Book of 2014"
A New York Times Book Review Editor’s Pick!
A Publishers Weekly Indie Pick: Big Books from Small Presses!
 
“Heap House is weird, yes. Spectacularly so.”
—Pseudonymous Bosch, The New York Times Book Review
 
 
“Heap House—the first in a trilogy set in Victorian England—is a witty, fantastical, sometimes terrifying world, like the best kind of fairy tales. And like many fairy tales, it’s suitable for children as well as adults.”  —Austin American-Statesman
 
"How do I even begin to talk about this exceptional, astonishing book? Reading Heap House I was reminded of Edward Gorey, Lemony Snicket, and Roald Dahl; it's a grimy world with a sepia glow, a Victoriana of malicious clutter. It's an intelligent, thoughtful, compassionate book.  It's also gorgeously written. Heap House is, its heart of trash notwithstanding, an absolute treasure."   —Amal El-Motar, NPR
 
“Whimsically gothic...”  —Los Angeles Times
 
"Carey’s Heap House is blanketed in the delicious gray gloom of his native England ...Apt comparisons will be drawn to Charles Dickens, Lemony Snicket, and Edward Gorey. Fans of creepy and macabre literature will be drawn to Carey’s illustrations, and fans of brave and whimsical literature will love his wordplay and his fantastical world.”   —Bookpeople’s Blog
 
“This book is funny and charming, and even scary, and so full of wonderful words, it's amazing Carey has any left to use. He also did the fabulous illustrations. I adored it.”  —Book Riot
 
"Edward Carey’s new novel Heap House is his first for younger readers; it’s also a magnificently creepy work regardless of what age you are when you encounter it.”  —Vol 1 Brooklyn Blog
 
"Heap House is the first volume in theIremonger Trilogy, and its cliffhanger ending is perfectly maddening. It's cruel, really, of the publisher to release just one.”  —Sonja Bolle, Newsday
 
“Full of strange magic, sly humor, and odd, melancholy characters, this trilogy opener, peppered with portraits illustrated by Carey in a style reminiscent of Peake’s own, should appeal to ambitious readers seeking richly imagined and more-than-a-little-sinister fantasy.” —Publishers Weekly (starred review)
 
"The first in a deliciously macabre trilogy . . . channels Dickens crossed with LemonySnicket. . . . a Gothic tale in turns witty, sweet, thoughtful and thrilling—but always off-kilter—and penned with gorgeous, loopy prose. Suspense and horror gradually accumulate into an avalanche of a climax, leading to the most precipitous of cliffhangers... Magnificently creepy.”  —Kirkus Reviews (starred review)
 
"What an astonishing book this is! A novel for children so good, so peculiar, somagical that it bears comparison to classics like The Hobbit or The Wolves of Willoughby Chase, The Golden Compass or the Green Knowe books. That is to say, adults should read it too, in order to be given the uncanny, wrenching sensation of visiting a new and strange place—and finding a home there."  —Kelly Link, award-winning author of Magic for Beginners
 
“Heap House is delightful, eccentric, heartfelt, surprising, philosophical, everything that an novel for children shouldbe.” —Eleanor Catton, winner of the Man Booker Prize for The Luminaries
 
“Heap House torques and tempers our memories of Dickensian London into a singularly jaunty and creepy tale of agreeable misfits.”  —Gregory Maguire, best-selling author of Wicked

At the Iremonger family offices in the aptly named borough of Foulsham, London's great repository of filth, Grandfather Umbitt Iremonger has found a way to make objects assume the shapes of people, and how to turn people into objects. Clod, whom he sees as a threat, has been turned into a gold coin and is being passed as currency from hand-to-hand through the town. Meanwhile, Lucy Pennant has been discarded as a clay button, abandoned in the depths of the Heaps. Will they be found and returned to human form? Enter Binadit and Rippit...Meanwhile Umbitt builds an army of animated objects to retrieve the missing gold coin. All around the city, thing—ordinary things—are twitching into life, and the reader is held in breathless suspense as questions of life and death, value and disposability, rumble through this dark and mesmerizing world.