Review:
The House of Sleep is an intricate cat's cradle of a novel, full of both sly satire and oblique meditations on the interstices of love, sleep, memory, and dreams. The setting is Ashdown, a wind-swept old house by the sea that once provided university housing and now is home to a clinic for sleep disorders. During the early 1980s, a group of students meet here, united by little other than a curious preoccupation with sleep. They include Sarah, a narcoleptic who has trouble distinguishing her intensely vivid dreams from reality; her first boyfriend, the fussy egomaniac Gregory, who gets his kicks from pressing his fingers on Sarah's closed eyes; Terry, a film buff who sleeps at least 14 hours a day, dreaming blissful dreams he can never quite remember; and the sensitive Robert, who loves Sarah enough to do anything at all in order to have her. By a series of startling coincidences, the four are drawn back to Ashdown 12 years later, setting into motion a plot so carefully contrived it makes most thrillers look spare and impressionistic. Like a dream, The House of Sleep resonates with repeated images, phrases, even passages; here they serve as narrative glue for a complicated story that moves backward and forward in time and in and out of different points of view. The result is sometimes puzzling, always absorbing, and often very funny indeed.
From the Back Cover:
British acclaim for The House of Sleep
"Coe has been compared to Peacock, Waugh and Wodehouse. But this novel shows he has outgrown even this distinguished lineage . . . The House of Sleep plunges us from romance to tragedy, from film noir to farce . . . There are sublimely silly scenes, but there are also moments of exquisite pathos and beauty. This is a fiercely clever, witty novel, but it is also wise, generous and hopeful . . . [It] is a comic novel, but one has to reach deep into the canon to find a tradition muscular, humane and stormy enough to accommodate it."
--Trev Broughton, Times Literary Supplement
"Shows energy, tenderness, social commitment, all in a style that comes like breath. The writer is one of the very best contemporary British novelists, thrillingly original as well as accessible."
--Candia McWilliam, Independent on Sunday
"A serpentine novel of ideas . . . Packed with brilliant comic set- pieces, trenchant satire on the self-serving `business' of helping
people and dexterous plotting which lovingly exploits the thin line
between accident and design."
--John O'Connell, Time Out
"This is a topically intelligent and speculative novel for an age fascinated by consciousness and cognition . . . A book of playful games and combinations, written with great brio . . . It's also, as a worthy novel should be, a humane pleasure to read."
--Malcolm Bradbury, New Statesman
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