Sea Monsters: A Novel

Sea Monsters: A Novel

by Chloe Aridjis

Narrated by Justine Eyre

Unabridged — 4 hours, 46 minutes

Sea Monsters: A Novel

Sea Monsters: A Novel

by Chloe Aridjis

Narrated by Justine Eyre

Unabridged — 4 hours, 46 minutes

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Overview

One autumn afternoon in Mexico City, seventeen-year-old Luisa does not return home from school. Instead, she boards a bus to the Pacific coast with Tomás, a boy she barely knows. He seems to represent everything her life is lacking-recklessness, impulse, independence. Tomás may also help Luisa fulfill an unusual obsession: she wants to track down a traveling troupe of Ukrainian dwarfs. According to newspaper reports, the dwarfs recently escaped a Soviet circus touring Mexico. The imagined fates of these performers fill Luisa's surreal dreams as she settles in a beach community in Oaxaca. Surrounded by hippies, nudists, beachcombers, and eccentric storytellers, Luisa searches for someone, anyone, who will "promise, no matter what, to remain a mystery." It is a quest more easily envisioned than accomplished. As she wanders the shoreline and visits the local bar, Luisa begins to disappear dangerously into the lives of strangers on Zipolite, the "Beach of the Dead."



Meanwhile, her father has set out to find his missing daughter. A mesmeric portrait of transgression and disenchantment unfolds. Sea Monsters is a brilliantly playful and supple novel about the moments and mysteries that shape us.

Editorial Reviews

APRIL 2019 - AudioFile

Narrator Justine Eyre channels an uncertain and wistful teenager. Restless and hungry for adventure, 17-year-old Luisa, who lives in Mexico City, impulsively decides to run off to an Oaxacan beach with an acquaintance named Tomás. Starting with the dubious aim of finding a troupe of Ukrainian dwarves who have recently disappeared from a Soviet circus touring Mexico, Luisa is soon ensconced in the eccentric beach community. Eyre employs a Mexican accent for dialogue, helping to situate the story geographically. Her thoughtful, introspective narration is marked by a slightly gravelly timbre. While not as clear as it might be, the gravelly vocal effect accurately captures the ambivalent teenager. S.E.G. © AudioFile 2019, Portland, Maine

Publishers Weekly

11/05/2018
In Aridjis’s ethereal and ruminative debut, a new wave–loving teenage girl named Luisa, living in Mexico City, impulsively runs away from home with Tomás Román, an exotic and exciting boy she hardly knows. They head for Zipolite, the “Beach of the Dead” in Oaxaca, where Luisa hopes to find a missing troupe of Ukranian dwarves that she believes may be hiding in the area after escaping from a Soviet circus touring Mexico. Enmeshed in precocious Luisa’s inner world, readers follow surreal fantasies and fascinations as she learns to dwell among Zipolite’s population of nudists, beachcombers, hippies, and even a so-called merman while she searches for the dwarves. She also meditates on William Burroughs, Baudelaire, Laurteamont, historical curiosities such as the shipwreck where researchers discovered the mysterious Antikythera Mechanism, and, above all, her favorite bands, including Joy Division and The Cure. The book functions more like a mood piece than a traditional novel, a fitting choice in rendering Luisa and Tomás’s life as runaways. Brilliant in her ability to get inside the head of her young narrator, Aridjis skillfully renders a slightly zonked-out atmosphere of mystery and the mind of a young romantic, resulting in a strange and hypnotic novel. (Feb.)

From the Publisher

Praise for Sea Monsters

Long-listed for the 2019 PEN/Faulkner Award for Fiction

The Atlantic, Not Your Average Beach Read

Fast Company, 1 of 77 New Movies, TV Shows, Albums, and Books You Must Check Out This Month

Apartment Therapy, 1 of 5 Books to Read This Month

Named 1 of 48 Books by Women and Nonbinary Authors of Color to Read in 2019 by Electric Literature

Bustle, 1 of 24 Fiction Books Coming Out This Month that You Definitely Need to Read

A The Millions Most Anticipated Book of the Year

A Big Other Most Anticipated Small Press Book of the Year

Electric Literature, 1 of 7 Books Set in Mexico City to Read After You’ve Watched Roma

Southwest Review, 1 of 10 Must-Read Books of the Year

"Following a grand narrative tradition of privileged yet jaded youth, this novel’s teen-age protagonist, Luisa, flees her middle-class life in Mexico City in search of adventure . . . Aridjis, like Luisa, has a knack for clever observations, and her supple writing ultimately keeps the story going." –– The New Yorker

"Aridjis is deft at conjuring the teenage swooniness that apprehends meaning below every surface. Like Sebald’s or Cusk’s, her haunted writing patrols its own omissions . . . The figure of the shipwreck looms large for Aridjis. It becomes a useful lens through which to see this book, which is self-contained, inscrutable, and weirdly captivating, like a salvaged object that wants to return to the sea." — Katy Waldman, The New Yorker

"A surreal, captivating tale about the power of a youthful imagination, the lure of teenage transgression, and its inevitable disappointments . . . Aridjis allows her narrative to swell and recede like the sea, along with Luisa’s capacious imagination . . . Aridjis excels at writing a life lived in the borderlands between reality and fantasy, conveying the imagination of a 17-year-old with whims and fancies that are intriguing rather than exasperating or laughable. Luisa’s goals remain elusive, and her gradual disenchantment is entirely relatable. Moreover, the novel’s precocious teenage narrative voice is replete with sentences of rare beauty and power. I may start reading it again at once." — Ellen Jones, Los Angeles Review of Books

"A mesmerizing novel . . . Aridjis beautifully renders the perspective of a bored, intelligent, privileged teenage girl—a decadent, solipsistic daydream." — Emily Rhodes, Financial Times

"A coming-of-age story set . . . in the Mexico in which Aridjis grew up, in which the language is precise, strange, evocative and wise. It’s language as it really ought to be . . . The novel poses far more questions than it answers, and it does so accurately and beautifully." — R. O. Kwon, The Guardian

"[Aridjis] riffs like a poet, letting each image twist and grow into the next . . . The novel’s strength lies in its ability to turn to the next magic trick, the next detail, the next sight. Those sights are all the more impressive when conjured solely from language. By opting out of fiction’s conventional prioritization of plot or character development, Aridjis foregrounds her ability to develop images and metaphors. The result is seductive in its multiplicity. Mallarmé would be proud." — Lily Meyer, The Atlantic

"Based on an episode from Aridjis's teenage years in Mexico, the novel's brilliance lies in capturing so convincingly that state of adolescent restlessness . . . With its watery setting, its perhapses and probablys, the novel carries a suggestion that things aren't quite as they seem . . . Aridjis leaves us with the sense that Luisa's disillusionment, like everything else, is in flux." — Francesca Carington, The Daily Telegraph

"Chloe Aridjis crafts an undulating story not of innocence lost but innocence exchanged." –– Marilyse V. Figueroa, World Literature Today

"Aridjis trusts us as readers to follow along, filling in the gaps and accepting the obscure references to everything from Baudelaire to punk music . . . We are breathlessly close to Luisa herself but distant from so many parts of her. But, at the novel’s end, looking back on the expedition with Luisa, we realize a journey can be transformative even when it ends in the same place it began." –– Liam Nieman, The Daily Mississippian

" Sea Monsters revels in a mode of perception that’s just a little bit off from true . . . Luisa delights in the improbable but actual . . . Sea Monsters is a treasure chest of Luisa’s deftly curated visions." — Angela Woodward, BOMB Magazine

"[A] dreamy, fantastical novel packed with lush description as Luisa recounts her first encounters with the darkly enrapturing Tomás, interchanged with scenes of her new life on the beach, where she becomes increasingly intertwined with others’ lives." — Jill Capeway, HuffPost

"Aridjis draws the reader in with gorgeous and poignant descriptions of setting, essayistic digressions on history and art, and moody suggestions of violence. She’s like a dreamier W. G. Sebald, or Baudelaire set to a soundtrack of Joy Division and the Cure. Further, there’s a sense of playfulness in Aridjis that a lot of people trying to write this kind of fiction never achieve. With palpable characters and brisk pacing, her books are never a chore, even if you never really know where the story is going." — Wilson McBee, Southwest Review

" Sea Monsters is a smart and playful novel about Luisa, a 17-year-old in Mexico in the late ‘80s. Follow along as she searches for a traveling group of Ukrainian dwarfs who escaped a touring Soviet circus and the people she meets along the way." ― Elizabeth Entenman, HelloGiggles

" Sea Monsters is the most unique book you might read all year thanks to author Chloe Aridjis and her vivid imagination." — Sophie Matthews, Women.com

“[ Sea Monsters ] blazes forth in a fleeting flash of brilliance . . . [Aridjis] creates images of surpassing beauty and even whole paragraphs that more closely resemble prose poems.” — Cory Oldweiler, amNewYork

" Sea Monsters is a fascinatingly consistent and exquisitely shaped novel by Chloe Aridjis . . . The narrative surface searches the depths of being human." –– Michael Silverblatt, KCRW's Bookworm

"What makes Aridjis’s [ Sea Monsters ] so fantastic is the combination of mythical and historical traits that entwine throughout the book. I was transported to a beach I have never seen, while at the same time back to my youth, when time seemed infinite and my desire to be an adult was omnipresent." — Haley Sherif, The Rumpus

"Unexpected trips, Quixotic quests, haunted searches, and mysterious communities: there’s a whole lot going on in Chloe Aridjis’s new novel. It begins with a young woman venturing westward, which sets into motion a series of surreal events proceeding along an unpredictable path." — Vol. 1 Brooklyn

"Aridjis is an accomplished wordsmith, and readers will find themselves rereading many passages in this wise, marvelous novel." — Library Journal (starred review)

"A dreamy, wandering tale of teenage ennui and searching, and the pull of the sea . . . Aridjis's sentences are luminescent and imagistic . . . [A] lovely, surreal novel." — Julia Kastner, Shelf Awareness

"Aridjis’s writing meanders between the beautifully poetic and achingly impatient, her characters existing in the margins of fantasy, perpetually covered in sand. It is as though they are neither flora nor fauna, neither land nor sea." — Harry Gallon, Minor Literature[s]

"One could only wish to have been as precocious at 17 years old as Luisa, the inquisitive voice of Aridjis’ spellbinding novel, Sea Monsters. What’s more to admire than the zeal with which Luisa draws musings from the sea is her bottomless obsession for an enigma of a boy named Tomas, who makes a runaway out of her in search of something mythological. Aridjis knows, as all hopeless romantics do, that only the burn of love could spark such an irresistible getaway. As Luisa and Tomas’ whirlwind adventure reaches its crest, what unleashes is a tide of vulnerable sensations that do nothing if not resonate with the teenage heart within us all." –– Paris Close, Paperback Paris, One of the Best Books of the Year

"Ethereal and ruminative . . . Brilliant in her ability to get inside the head of her young narrator, Aridjis skillfully renders a slightly zonked-out atmosphere of mystery and the mind of a young romantic, resulting in a strange and hypnotic novel." — Publishers Weekly

" Sea Monsters is a mesmerizing, revelatory novel, smart and funny and laced with a strangeness that is never facile but serves as a profound and poetic tool for navigating our shared world. Chloe Aridjis is the rare writer who reinvents herself in each book; she is, for my money, one of the most brilliant novelists working in English today." — Garth Greenwell, author of What Belongs to You



" Sea Monsters by Chloe Aridjis is destined to be a classic: a richly imaginative, reflective, and mesmerizing novel set in Mexico."— Xiaolu Guo, NBCC Award winning author of Nine Continents

" Sea Monsters is a searingly hypnotic work, a dazzling tale of enchantment and disenchantment that unfolds in Mexico City and Oaxaca in the late 1980s." — Laura Esquivel, bestselling author of Like Water for Chocolate

"I love the way Chloe Aridjis creates her own worlds in prose, and I especially love how Sea Monsters has invented the world of adolescence and its reveries: violent and tender, logical and dreamlike—a twenty-first-century essay disguised as a nineteenth-century fable." — Adam Thirlwell, author of Lurid & Cute

" Sea Monsters not only raises the notion of finding love in the kindness and compassion of strangers but that love can also be a tide—one we must trust to show us the way." —Paris Close, Paperback Paris, 1 of the 60 Best Books of the Year

Praise for Chloe Aridjis

2014 Guggenheim Fellow

Prix du Premier Roman Etranger Winner

"Chloe Aridjis is crafting a poetics of the strange… this is deft and shimmering fiction.”
The Times Literary Supplement

“A young writer of immense talent.” — Paul Auster

"Hypnotic. . . . Aridjis’ novel has the power of dreams and still hasn't left me." — Junot Díaz on Book of Clouds for Salon

“A post-Sebaldian, post-Benjamin peripatetic meditation. . . . One of my favorites this year." — Ali Smith on Book of Clouds for The Times Literary Supplement

"Exquisitely written. . . . A perfect story for our unsettled times." — Francisco Goldman on Book of Clouds

"Chloe Aridjis writes with a fine-tuned sensitivity and a captivating charm. Her universe is offbeat, rich, and disturbing in equal measure—but always utterly compelling." — Tom McCarthy

"Chloe Aridjis's gifts for narrative, description, and detail signal the arrival of a promising new writer." — Francine Prose

“I am very excited by Chloe Aridjis.” — Jeanette Winterson

"Chloe Aridjis writes about sensations at the edges of perception, capturing experiences rarely included in fiction. A surprising sensibility and an effortlessly original voice." — Eva Hoffman

"Brilliantly exact and disconcerting. . . . Reading [Aridjis] is absorbing and enlarging to the imagination." — Diana Athill

“[A] young writer who see[s] the world with a fresh, original vision.” — Wendy Lesser, The New York Times Book Review

School Library Journal

05/01/2019

This dreamy yet unsettling coming-of-age story set in 1980s Mexico focuses on the small, surreal mysteries that shape our lives. Luisa longs to escape the detachment and boredom of everyday life. When a new love interest, Tomás, offers to take her to the Oaxaca coast, she goes with barely a second thought. The impulsive romance quickly fades, and the two drift apart. Luisa spends her time at the beach, learning the ways of the sea and searching for a troupe of Ukrainian dwarfs who defected from a traveling circus. She meets a mysterious stranger who takes the last of her attention away from Tomás, and discovers that getting to know someone often leads to disappointment. Luisa makes wise and insightful observations on the nature of change, with horror and glamour. Aridjis depicts the turbulence of adolescence sensitively. Teens will connect with Luisa's fears, her disillusionment, and her attraction to mystery. Although the story is timeless, the soundtrack of Depeche Mode, Siouxsie Sioux, and Joy Division creates an evocative sense of place. VERDICT Mature teen readers will appreciate Aridjis's writing and Luisa's emotional journey.—Heather Waddell, Abbot Public Library, Marblehead, MA

APRIL 2019 - AudioFile

Narrator Justine Eyre channels an uncertain and wistful teenager. Restless and hungry for adventure, 17-year-old Luisa, who lives in Mexico City, impulsively decides to run off to an Oaxacan beach with an acquaintance named Tomás. Starting with the dubious aim of finding a troupe of Ukrainian dwarves who have recently disappeared from a Soviet circus touring Mexico, Luisa is soon ensconced in the eccentric beach community. Eyre employs a Mexican accent for dialogue, helping to situate the story geographically. Her thoughtful, introspective narration is marked by a slightly gravelly timbre. While not as clear as it might be, the gravelly vocal effect accurately captures the ambivalent teenager. S.E.G. © AudioFile 2019, Portland, Maine

Kirkus Reviews

2018-11-12

New fiction from the author of Asunder (2013) and Book of Clouds (2009).

In the late 1980s, Luisa is 17, about to graduate from a prestigious high school in Mexico City. A scholarship student and the child of two academics, she doesn't fit in with the wealthy and aristocratic kids at her school. She finds her tribe among the outcasts who listen to Joy Division and The Cure. She finds her soul mate when the sullen, black-clad Tomás enters her life, and she finds her purpose when she reads a newspaper article about Ukrainian dwarfs who have run away from the circus on a tour of Mexico. Together, Luisa and Tomás run off to the seaside town of Zipolite in search of the missing circus performers. What Aridjis makes of this surprising story is…rather boring. The book is half over before the heroine embarks on her quest, and nothing we learn in the first half of the story explains why Luisa would do something so capricious. At the same time, it's hard to care. For a novel in which shipwrecks and the denizens of the ocean floor are recurring metaphors, this book seldom dives into the narrative. Instead of depth, we get a baroque style that doesn't add much to our enjoyment or understanding. Early on, Luisa says of Tomás: "He had started out as a snag, a snag in the composition; from one moment to the next, there was no other way of putting it, he had begun to appear in my life back in the city. And since all appearances are ultimately disturbances, this disturbance needed investigating." The novel is full of this sort of complicated language, and the story seldom benefits from it. References to 1980s punk and New Wave will be nostalgic landmarks for many readers, but we learn very little about Luisa beyond her taste in music. After Luisa realizes that the Tomás of her daydreams is nothing like the real boy, she goes looking for connection among the denizens of Zipolite and finds herself caught up in trouble she had not anticipated. There are eccentric characters and sensational incidents, but we never go below the surface.

A shallow coming-of-age fable.

Product Details

BN ID: 2940171475727
Publisher: HighBridge Company
Publication date: 02/05/2019
Edition description: Unabridged

Read an Excerpt

Imprisoned on this island, I would say, Imprisoned on this island. And yet I was no prisoner and this was no island.

During the day I’d roam the shore, aimlessly, purposefully, and in search of digressions. The dogs. A hut. Boulders. Nude tourists. Scantily clad ones. Palm trees. Palapas. Sand sifting umber and adrenaline. The waves’ upward grasp. A boat in the distance, its throat flashing in the sun. The ancient Greeks created stories out of a simple juxtaposition of natural features, my father once told me, investing rocks and caves with meaning, but there in Zipolite I did not expect any myths to be born.

Zipolite. People said the name meant Beach of the Dead, though the reason for this was debated—was it because of the number of visitors who met their end in the treacherous currents, or because the native Zapotecs would bring their dead from afar to bury in its sands? Beach of the Dead: it had an ancient ring, ancestral, commanding both dread and respect, and after hearing about the unfortunate souls who each year got caught in the riptide I decided I would never go in beyond where I could stand. Others said Zipolite meant Lugar de Caracoles, place of seashells, an attractive thought since spirals are such neat arrangements of space and time, and what are beaches if not a conversation between the elements, a constant movement inward and outward? Yet my favorite explanation, which only one person put forward, was that Zipolite was a corruption of the word zopilote, and that every night a black vulture would envelope the beach in its dark wings and feed on whatever the waves tossed up. It’s easier to reconcile yourself with sunny places if you can imagine their nocturnal counterpart.

Once dusk had fallen I would head to the bar and spend hours under its thatched universe, a large palapa on the shores of the Pacific decked with stools, tables, and miniature palm trees. It was where all boats came to dock and refuel, syrup added to cocktails for maximum sweetness, and I’d imagine that everything was as artificial as the electric blue drink: that the miniature palm trees grew fake after dusk, the chlorophyll struggling and the life force gone from the green, that the wooden stools had turned to laminate. Sometimes the hanging lamps would be dimmed and the music amplified, a cue for the drunks and half drunks to clamber onto the tables and start dancing. The shoreline ran through every face, destroying some, enhancing others, and at moments when I’d had enough reminders of humanity I would look around for the dogs who like everyone else at the beach came and went according to mood. A curious snout or a pair of gleaming eyes would appear on the fringes of the palapa, take in the scene, and then, most often, finding nothing of interest, retire once more into darkness.

Before long, it became apparent that the bar in Zipolite was a meeting place for fabulists, and everyone seemed to concoct a tale as the night wore on. One girl, a painter with cartoon lips and squinty eyes, said her boyfriend had suffered a heart attack on his yacht and been forced to drop her off at the nearest port since his wife was about to be helicoptered in with a doctor. In more collected tones, a tall German explained to everyone that he was a representative of the German Society for Protection Against Superstition, or Deutsche Gesellschaft Schutz vor Aberglauben—he wrote the name in tiny German script on a sheet of rolling paper for us to read—and had been sent to Mexico after a stint in Italy. An actress from Zacatecas no one had heard of insisted she was so famous that a theater, a planet, and a crater on Venus had been named after her.

And you, someone would ask, noticing how intently I listened, What brought you here?

I had run away, I told them, I’d run away from home.

Are your parents evil?

No, not at all. . . . I was in Zipolite with a boy. I’d run away, mainly, because of a boy.

And where was this boy?

Good question.

And who was this boy?

Another good question.

But that, too, was only half the truth. I had also come here because of the dwarves. However fantastical it now seemed, I was here with Tomás, a boy I hardly knew, in search of a troupe of Ukrainian dwarves. And if I stopped to think about it for more than a few instants, the situation was almost entirely my fault. It was therefore not surprising that calming thoughts were hard to come by. No calm, but I did feel profoundly numb, as if stuck halfway through a dream, a dream I didn’t seem able to exit.

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