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Narrated by the last woman alive, and reflecting her ten years of isolation, WM is a novel of scraps and associations. All narrator Kate has left by which to remember humanity are the books and paintings she collects and interprets in these pages. What do they make (and make up for)? For a patient reader (who does not need plot), there's wonderful humor in Markson's play with Wittgenstein's linguistics and in the leveling of all cultural artifacts in Kate's hands.
Jamie— From WITTGENSTEIN’S MISTRESS
Wittgenstein's Mistress is a novel unlike anything David Markson or anyone else has ever written before. It is the story of a woman who is convinced and, astonishingly, will ultimately convince the reader as well that she is the only person left on earth.
Presumably she is mad. And yet so appealing is her character, and so witty and seductive her narrative voice, that we will follow her hypnotically as she unloads the intellectual baggage of a lifetime in a series of irreverent meditations on everything and everybody from Brahms to sex to Heidegger to Helen of Troy. And as she contemplates aspects of the troubled past which have brought her to her present state--obviously a metaphor for ultimate loneliness--so too will her drama become one of the few certifiably original fictions of our time.
"The novel I liked best this year," said the Washington Times upon the book's publication; "one dizzying, delightful, funny passage after another . . . Wittgenstein's Mistress gives proof positive that the experimental novel can produce high, pure works of imagination."