The House Uptown
Mar 2021 · Faber & Faber
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280
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'Utterly unique, addictively readable.' Pandora Sykes
'Intriguing, elegant and seductive.' Jessica Moor
'You can't put it down.' Kevin Wilson
After the sudden death of her mother, Ava finds herself headed cross-country to live with the only relative she has left. But Lane, her grandmother, doesn't seem to have much room in her heart for a teenage girl, barely acknowledging Ava between obsessive painting sessions. The only other person who comes around is Lane's assistant, Oliver, who's dealing with issues of his own.
As the summer goes on, Ava begins to get a sense that something is very wrong in her grandmother's house. Why was Lane estranged from Ava's mother, and is she now losing her mind? Could the danger lie with Oliver? Or, is there something darker in their past, something which could come back to destroy them all?
'Intriguing, elegant and seductive.' Jessica Moor
'You can't put it down.' Kevin Wilson
After the sudden death of her mother, Ava finds herself headed cross-country to live with the only relative she has left. But Lane, her grandmother, doesn't seem to have much room in her heart for a teenage girl, barely acknowledging Ava between obsessive painting sessions. The only other person who comes around is Lane's assistant, Oliver, who's dealing with issues of his own.
As the summer goes on, Ava begins to get a sense that something is very wrong in her grandmother's house. Why was Lane estranged from Ava's mother, and is she now losing her mind? Could the danger lie with Oliver? Or, is there something darker in their past, something which could come back to destroy them all?
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Melissa Ginsburg was born and raised in Houston and attended the Iowa Writers' Workshop. She is the author of the poetry collection Dear Weather Ghost and two poetry chapbooks, Arbor and Double Blind. She teaches creative writing and literature at the University of Mississippi. Sunset City, her debut novel, was nominated for the John Creasey Dagger, was a Mail on Sunday Thriller of the Week, and was described by Laura Wilson in the Guardian as 'sexy, boozy, poignant and funny'.
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