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Installieren Sie die genialokal App auf Ihrem Startbildschirm für einen schnellen Zugriff und eine komfortable Nutzung.
Installieren Sie die genialokal App auf Ihrem Startbildschirm für einen schnellen Zugriff und eine komfortable Nutzung.
THE LANDMARK CLASSIC THAT USHERED IN THE ERA OF MODERN HORROR Now with a new introduction by Gillian Flynn, author of Gone Girl. Rosemary Woodhouse and her aspiring-actor husband Guy are thrilled to move into the Bramford, a sought-after Manhattan apartment building prized for its Victorian detail and charm - but accompanied by a sinister history. As they grow close to their overly-attentive neighbours, the Castevets, cracks begin to appear in the young couple's seemingly idyllic life. When Guy lands a breakthrough role, and Rosemary begins a long hoped-for pregnancy, everything seems to fall into place. But as the pregnancy takes unsettling turns, Rosemary begins to question whether the Castevets' attentions are more than just neighbourly - and whether Guy himself might be concealing a frightening truth. Are Rosemary's concerns real, or is she simply imagining a gathering malevolence? Is she 'going mad or going sane'? 'A darkly brilliant tale' - Truman Capote 'Ira Levin is the Swiss watchmaker of the suspense novel' - Stephen King 'There are books which document the culture and books that create it, and Rosemary's Baby is both' - Chuck Palahniuk, New York Times bestselling author of Fight Club
IRA LEVIN (1929-2007) created some of the most recognisable landmarks of popular culture, among them Rosemary's Baby, The Stepford Wives, The Boys from Brazil, and Deathtrap (Broadway's longest-running thriller, and one of its 10 longest-running plays). A playwright and novelist of uncanny versatility, Levin alternated between suspense, horror, comedy, drama, science fiction, even musical theatre - often setting lasting benchmarks in each genre, while also helping birth a staggering array of emergent subgenres, including modern, daylight, and feminist horror. Though his writing often held a mirror to society's enduring ills, Levin opposed works that preach, writing first and foremost to entertain - asserting 'I feel people are good enough that they deserve to be entertained', and that 'When you write something sheerly to entertain, that's making a moral point, too.' Learn more at IraLevin.org
