“The surface of [Jelinek’s] prose cracks and bursts . . . fissured by phantasmagorical description, gallows humor, multilingual puns, and scouring sarcasm. . . . Jelinek’s novel is finally . . . a furious accumulation of lost moments and possible outcomes, an enormous, spectral kaleidoscope erected before the unfathomable.”—Dustin Illingworth, <i>Washington Post</i><br /><br />“An unlikely spin on zombie narratives [with] searching questions about how a society decides to remember—or forget—its worst atrocities.”—<i>Financial Times</i>, “Best Summer Books of 2024”<br /><br />“<i>Children of the Dead</i> is a tale of death, disgust, and despair. But it’s no bummer; it is playful and proudly strange. And it offers a forceful riposte to a culture—one both historical and contemporary—that abjures the buried and the bygone. . . . A serious, complex work that exemplifies both [Jelinek’s] stylistic dexterity and her powerful sway as a social and political critic.”—John Semley, <i>The Nation</i><br /><br />“In this monumental zombie novel from Nobel winner Jelinek . . . readers will delight in Jelinek’s wild Joycean wordplay, elegantly translated by Honegger. . . . Full of unexpected beauty, this challenging and troubling story is one to savor.”—<i>Publishers Weekly</i><br /><br /><i>Praise for Elfriede Jelinek:</i><br />  <br /> “Jelinek’s work is brave, adventurous, witty, antagonistic and devastatingly right about the sorriness of human existence, and her contempt is expressed with surprising chirpiness: it’s a wild ride.”—Lucy Ellmann, <i>The Guardian</i><br />  <br /> “Language and life and its values—its debts and deaths, its violence and vicissitudes, the dense cacophony of its hidden meanings—are at the core of Jelinek’s monumental oeuvre. . . . A Jelinek book is a visceral reading experience, one that provokes a passionate response.”—Rhian Sasseen, <i>The Point</i><br />  <br /> “Like her Austrian forebears, including Karl Kraus, Ingeborg Bachmann, and Peter Handke, Jelinek investigates the uses and abuses of language by staging its semantic slipperiness. . . . As the Nobel Committee put it, Jelinek’s novels and plays ‘reveal the absurdity of society’s clichés and their subjugating power,’ deconstructing and de-naturalizing the—in her words—'trivial myths’ on which large stretches of Western culture are founded.”—Xan Holt, <i>Music and Literature</i><br />  <br /> “Jelinek tells hard stories with a concerned but cold eye. . . . [She writes] with cinematic detail, but few of the sentimental filters or cushions that pop culture movies use to spare the nerves of audiences.”—<i>New York Times</i><br />  <br /> “An intensely learned and literary writer; all her texts live in and through the texts of others. . . What Jelinek has fashioned [in <i>Greed</i>] is an immensely expressive medium that goes to the very edge of coherence, but never beyond it.”—Nicholas Spice, <i>London Review of Books</i><br /><br />  <br /><br />