Three Incestuous Sistersby Audrey Niffenegger
The Three Incestuous Sisters is an evocative, illustrated book by the best-selling author of The Time Traveler's Wife, Audrey Niffenegger. Reminiscent of the gothic style of Edward Gorey, Niffenegger's visually stunning narrative affirms her genius as a storyteller. These rich pages present the tale of three very different sisters: one who is beautiful, one who is smart, and one who is talented. A melodrama of sibling rivalry unfurls as one sister is driven mad with jealousy due to the passionate love affair of another. Escalating to a dizzying climax, the romance of the two lovers ends in sabotage, shame, and despair. Haunting illustrations and lyrical prose depict a timeless tale of love, revenge, and ultimately, transcendence.
The Three Incestuous Sisters is a unique and lavish tour de force, which showcases Audrey Niffenegger's incredible talent as an artist and a writer.
- Cape, Jonathan Limited
- Publication date:
Meet the Author
An instructor at Columbia College¿s Center for Book and Paper Arts in Chicago, Audrey Niffenegger teaches her students how to print type on letterpresses and craft limited-edition books by hand. In addition to her bestselling debut novel, The Time Traveler¿s Wife which was a Barnes & Noble Discover Great New Writers Selection, she is the author of two illustrated novels, The Three Incestuous Sisters and The Adventuress .
- Chicago, Illinois
- Date of Birth:
- June 13, 1963
- Place of Birth:
- South Haven, Michigan
- B.F.A., School of the Art Institute of Chicago, 1985; M.F.A., Northwestern University, 1991
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The Three Incestuous Sisters is the second “visual novel” by American author and artist, Audrey Niffenegger. The original books were hand printed: a limited edition of ten copies. The drawings are aquatints, featuring three sisters, Clothilde, Ophile and Bettine, who live by the sea. They all look quite similar but conveniently have different coloured hair. Two of them fall in love with the same man and jealousy leads to nasty consequences. The story is a little bizarre, but Niffenegger explains it needs to be imagined as a silent film made from Japanese prints, a melodrama of sibling rivalry. The text is certainly minimal, often as little as one or two words on the page opposite the prints. In her afterword, Niffenegger explains the complicated process involved in the hand printing. The prints, in subdued colours (except for the sisters’ hair), are quite individual, and Niffenegger’s style is distinctive. It is easy to see from her later works (The Night Book Mobile and Raven Girl) that both the quality of the art and the storytelling have improved since the earlier books. Dedicated Niffenegger fans may wish to own a copy; borrowing from the library is recommended for those who are merely “interested”. Different.