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I Know What I Saw
Mexican Gothic (e-bok)
a mesmerising historical Gothic fantasy set in 1950s MexicoDen här boken kan endast laddas ned av privatpersoner.31Den här boken kan endast laddas ned av privatpersoner.Laddas ned direkt
Läs i vår app för iPhone, iPad och AndroidThe award-winning author of Gods of Jade and Shadow (one of the 100 best fantasy novels of all time, TIME magazine) returns with a mesmerising feminist Gothic fantasy, in which a glamorous young socialite discovers the haunting secrets of a beautiful old mansion in 1950s Mexico. He is trying to poison me. You must come for me, Noem . You have to save me.When glamorous socialite Noem Taboada receives a frantic letter from her newlywed cousin begging to be rescued from a mysterious doom, it's clear something is desperately amiss. Catalina has always had a flair for the dramatic, but her claims that her husband is poisoning her and her visions of restless ghosts seem remarkable, even for her.Noem 's chic gowns and perfect lipstick are more suited to cocktail parties than amateur sleuthing, but she immediately heads to High Place, a remote mansion in the Mexican countryside, determined to discover what is so affecting her cousin.Tough and smart, she possesses an indomitable will, and she is not afraid: not of her cousin's new husband, who is both menacing and alluring; not of his father, the ancient patriarch who seems to be fascinated by Noem ; and not of the house itself, which begins to invade Noemi's dreams with visions of blood and doom.Her only ally in this inhospitable abode is the family's youngest son. Shy and gentle, he seems to want to help, but might also be hiding dark knowledge of his family's past. For there are many secrets behind the walls of High Place. The family's once colossal wealth and faded mining empire kept them from prying eyes, but as Noem digs deeper she unearths stories of violence and madness. And Noem , mesmerised by the terrifying yet seductive world of High Place, may soon find it impossible to leave this enigmatic house behind . . .
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