The Possessed

‘Brimming with unruly, high-octane prose, the book has the hallmarks of a classic gothic story: a haunted castle, a mad prince and his conniving secretary — and, of course, treasure. At first glance, this surface is rather depthless, but look closer and you’ll see the philosophically minded Gombrowicz getting on with what he described as the central aim of his writing: “to forge a path through the Unreal to Reality”.’
— Matt Janney, Financial Times

‘[T]he ultimate tennis match is between the creaking horror of the gothic novel and the other book that haunts The Possessed: a delightfully slippery, devious work of modernism.’
— Francesca Peacock, Spectator

‘By hewing closer to the Polish without sacrificing readability, Lloyd-Jones reproduces the uncanny effect of the original, evident even in small touches… Like the peasant left alone in the room after Maja and Marian make their escape, we cannot help but feel that we “have been here before” with Witold Gombrowicz, but never quite like this. The journey is worth taking.’
— Boris Drayluk, Times Literary Supplement

‘[T]he book has been translated for the first time directly, and sonorously, into English by Antonia Lloyd-Jones, one of the foremost interpreters of Polish literature. The “good bad book” which Gombrowicz, who was exiled from Poland after 1939, later felt ashamed of, takes comic flight, less a curio, more a complex stunner which bears comparison not only with Poe and Dostoevsky but also Gombrowicz’s Hungarian contemporary Antal Szerb. And, as Adam Thirlwell notes in a sparkling introduction: “it also has a strange layer of ultra-modernity: the dance halls and tennis courts of 1930s Warsaw.”’
— Catherine Taylor, Irish Times

‘[A] crafty and sharp exploration of the greed, lust, and vanity that spin people out of control. Gombrowicz’s gleeful misanthropy and sense of the absurd shine through the genre trappings to create a potboiler that’s enjoyable on multiple levels. This works perfectly both as a straightforward gothic akin to Du Marier’s Rebecca and as a knowing parody.’
— Publishers Weekly, starred review

‘Lloyd-Jones’ translation crackles with choice phrases, deftly capturing Gombrowicz’s gorgeous scenic descriptions, mordant sense of humor, and evocations of lurking horror. A delightful revelation of an interbellum novel from one of the great Polish modernists.’
— Kirkus starred review

‘One of the great novelists of our century.’ 
— Milan Kundera

‘A master of verbal burlesque, a connoisseur of psychological blackmail, Gombrowicz is one of the profoundest of late moderns, with one of the lightest touches.’
— John Updike

‘Gombrowicz is one of the super-arguers of the twentieth century.... The relentless intelligence and energy of his observations on cultural and artistic matters, the pertinence of his challenge to Polish pieties, his bravura contentiousness, ended by making him the most influential prose writer of the past half century in his native country.’
— Susan Sontag

‘There are also novels of another genre, false novels like Gombrowicz’s, that are kinds of infernal machines.’
— Jean-Paul Sartre

‘What we have here is an unusual manifestation of a writing talent.’
— Bruno Schulz

‘Gombrowicz’s art cannot be measured with the passing of decades. It is a monument of Polish prose.’
— Czeslaw Milosz

‘Despite his anxiety about genre fiction, Gombrowicz acquits himself masterfully, moving deftly between horror, romance and crime. The web of dark motivations and interdependencies that links the characters is intricately and compellingly drawn, and the plot moves at an impressive speed…The novel’s shifts in tone and texture are handled expertly by translator Antonia Lloyd-Jones, who shows a keen sensitively not only to the language of the period but also to the genres being parodied, the translation interlaces passages of prose worthy of Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde and P G Wodehouse, expertly re-creating the original’s tonal palette for the anglophone reader.’
— Uilleam Blacker, Literary Review

‘This novel abounds with surreal juxtapositions: personalities blurring into one another, high-stakes games of tennis, mysterious castles…. [I]ts energy and irreverence are contagious.’
— Tobias Carroll, Words Without Borders

‘This campy Gothic novel begins with a young tennis coach arriving at a rural manor to train the family’s headstrong and talented daughter. The two quickly discover that they share not only an uncanny likeness but also a deep, destructive, infuriating bond. From there, Gombrowicz unveils a plethora of genre tropes – a spooky castle, a haunted chamber, a sickly old prince with a terrible secret – while also exploring class, modernity and youth. Highly recommended post-Halloween reading.’
— Alexander Wells, Exberliner

‘In a first direct and complete translation into English, Antonia Lloyd-Jones renders the lively, humorous and enticing tone of Gombrowicz's 1939 novel, The Possessed. The tone immerses the reader in the atmosphere of the novel, which amuses yet has a latent power to haunt.’
— Gertrude Gibbons, Review31