Leila is an introverted 20-something who participates in an Internet forum called Red Pill, where people chat about ethical issues, including assisted suicide. Enter Adrian Dervish, owner of Red Pill, who asks Leila to help Tess, who is bipolar, to commit suicide by taking over her identity. Imogen Church uses an appropriate flat tone to narrate the story of these emotionally disengaged characters. In a minimally inflected performance she recounts Leila’s activities as she goes about acquainting herself with Tess, activities that are chillingly close to stalking. Overall, Church ably performs this disturbing story of assisted suicide, identity theft, and the lives of those who are addicted to the Web. But despite her strong performance, Church cannot engage listeners in an off-putting story. M.B.K. © AudioFile 2013, Portland, Maine
Kiss Me First
Narrated by Imogen Church
Lottie MoggachUnabridged — 10 hours, 44 minutes
Kiss Me First
Narrated by Imogen Church
Lottie MoggachUnabridged — 10 hours, 44 minutes
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Overview
When Leila discovers the Web site Red Pill, she feels she has finally found people who understand her. A sheltered young woman raised by her mother, Leila has often struggled to connect with the girls at school; but on Red Pill, a chat forum for ethical debate, Leila comes into her own, impressing the Web site's founder, a brilliant and elusive man named Adrian. Leila is thrilled when Adrian asks to meet her, flattered when he invites her to be part of "Project Tess." Tess is a woman Leila might never have met in real life. She is beautiful, urbane, witty, and damaged. As they e-mail, chat, and Skype, Leila becomes enveloped in the world of Tess, learning every single thing she can about this other woman-because soon, Leila will have to become her. An ingeniously plotted novel of stolen identity, Kiss Me First is brilliantly frightening about the lies we tell-to ourselves, to others, for good, and for ill.
Editorial Reviews
Moggach’s impressive debut, a gripping psychological thriller, is all the more disturbing for its plausibility. Introverted nerd Leila finds a group of friends of sorts after discovering Red Pill, a Web discussion list that debates philosophical matters in a Randian fashion. For the first time, Leila has people who care what she thinks. Among them is Red Pill’s founder, Adrian. After he builds up Leila’s confidence, making her feel like she’s something special, he asks her to perform a disturbing act: he wants her to take over the online life of Tess, a troubled woman who plans to commit suicide without letting anyone know. As Leila immerses herself in Tess’s life in preparation to take it over via Facebook, Twitter, and e-mail, she becomes increasingly attached to the task, relishing creating an imaginary life—not realizing that Adrian’s motivations for the identity theft are vastly different than they appear to be. Moggach’s skill in plotting means readers won’t anticipate the twists and turns built into the story, making for an intensely enjoyable reading experience. Memorable and fast-moving. Agent: Anthony Topping, Greene & Heaton (U.K.). (July)
Dark, disturbing, needle-sharp.” —Tana French, bestselling author of In the Woods and Broken Harbor
“Chilling. . . . Moggach sucks us into the rabbit hole of [a] dangerous obsession with deftly timed twists and memorable characters.” —Entertainment Weekly
“Unnervingly claustrophobic and enormously moving . . . A suspense novel that is classy, frightening and upsetting.” —The Guardian
“The first thriller to truly tackle the shifting sands of a life lived online. . . . Featuring the most unreliable narrator this side of Gone Girl. . . . I couldn’t put it down.” —Sam Baker, Harper’s Bazaar
“Chillingly demonstrates the virtual world is scant protection from messy, utterly human emotions.” —People
“Smart, absorbing. . . . Kiss Me First will attract readers with its up-to-the-minute Internet plot, but will keep them through its character-driven focus, psychological depth and fresh narrator. Moggach burrows into these characters’ heads so thoroughly that if anyone could pull off an online impersonation, she could.” —The Dallas Morning News
“Gripping. . . . More than just a book about an early 21st-century lifestyle. . . . Lottie Moggach’s mordantly well-observed debut . . . could be the first great novel about the way the internet has become a part of our lives, what it means, and how it has fundamentally altered the way we get along with each other.” —The Daily Beast
“The story’s suspense will keep you reading, but it’s Leila’s surprisingly emotional journey toward selfhood that will stick with you long after you’ve finished this wonderful first novel.” —Scott Smith, author of A Simple Plan and The Ruins
“Impressive . . . [and] all the more disturbing for its plausibility.” —Publishers Weekly (starred review)
“Engaging and suspenseful. . . . A dark psychological thriller about the threat social media poses to our sense of self.” —Financial Times
“Original and unsettling. . . . Worryingly convincing, Kiss Me First is a brilliantly twisty thriller that will make you wonder how well you really know your online friends.” —Irish Times
“A profound examination of the processes of storytelling itself: all characters are in some way telling fictions—to each other and to themselves. Moggach cleverly raises the question: what happens if we start believing our own fictions? . . . [She] infuses this narrative with powerful pathos and poignancy.” —Metro (London)
Bipolar thirtysomething Tess, still unable to manage her illness with meds, wants to die. Charismatic libertarian Adrian Dervish, founder of the website forum Red Pill, offers a means that will cause minimal pain to her loved ones left behind: Tess will say she's moving away to start a new life, and a well-prepared surrogate will continue Tess's life online with family and friends for months, as Tess gradually fades away. The surrogate selected by Adrian through his website is socially awkward Leila, long isolated by caring for her MS-stricken mother, who has just died. Assuming another person's identity proves to entail pleasure as well as risks, as Leila's tasks take unexpected turns and details of her own mother's death leak out. VERDICT First novelist Moggach presents an intriguing thesis with some solid plot twists and sound characterizations, but the level of suspense is lower than one might expected and peters out at the end. However, enough skill is shown that perhaps Moggach's second effort will be the charm. [See Prepub Alert, 2/1/13.]—Michele Leber, Arlington, VA
Leila is an introverted 20-something who participates in an Internet forum called Red Pill, where people chat about ethical issues, including assisted suicide. Enter Adrian Dervish, owner of Red Pill, who asks Leila to help Tess, who is bipolar, to commit suicide by taking over her identity. Imogen Church uses an appropriate flat tone to narrate the story of these emotionally disengaged characters. In a minimally inflected performance she recounts Leila’s activities as she goes about acquainting herself with Tess, activities that are chillingly close to stalking. Overall, Church ably performs this disturbing story of assisted suicide, identity theft, and the lives of those who are addicted to the Web. But despite her strong performance, Church cannot engage listeners in an off-putting story. M.B.K. © AudioFile 2013, Portland, Maine
Moggach's debut draws the reader into a series of events that bring together three very disparate individuals and puts them into a bizarre game of chance and deceit. Leila's father left before she was born, and her mother died when she had barely reached young adulthood. Sheltered, socially inept and almost friendless, she secures a job testing software out of the home Leila bought herself: a run-down apartment over an Indian restaurant in Rotherhithe, in Southeast London. But things all change when Leila joins a philosophical discussion group on a website known as Red Pill and is befriended by the site's owner, an American named Adrian. Leila is elevated to one of the site's most trusted commenters, and soon, Adrian approaches Leila with a proposition. Would she pretend to be someone else online for about six months in order to cover up the woman's pending suicide? The woman in question is a dark-haired, hypnotic gamine who entrances men and has many friends, basically the opposite of Leila. Tess, as she is known, has some emotional issues and doesn't want anyone else to realize she's gone off and killed herself, so she plans to do the deed someplace where her body won't easily be found. Leila agrees and begins to correspond with Tess, learning her friends, habits, speech patterns, likes and dislikes, and history. But then things happen that Leila not only hasn't counted upon, but also isn't prepared to handle, and everything starts to tilt, changing the way Leila views what she's doing and the people who are important to both women's lives. In Leila, Moggach has drawn a young woman who is convincingly naïve in the ways of the world and incapable of making good decisions. The story crackles with tension until the end, when it inexplicably runs out of steam. An interesting first book that manages to incorporate technology into a sexy psychological thriller that holds the reader's attention until it reaches the oddly tame ending.
Product Details
| BN ID: | 2940172109348 |
|---|---|
| Publisher: | Penguin Random House |
| Publication date: | 07/09/2013 |
| Edition description: | Unabridged |
Read an Excerpt
Excerpted from the hardcover edition.
It was a Friday night, about nine weeks into the project. Tess’s voice sounded normal, but I could see that she had been crying and her narrow face was pale. For the first few minutes of the conversation, she leaned her head back against the wall behind her bed, gaze turned to the ceiling. Then she righted it and looked straight at the camera. Her eyes were as I’d never seen them: both empty and terrified. Mum sometimes had the same look, toward the end.
“I’m scared,” she said.
“What about?” I asked, stupidly.
“I’m so fucking scared,” she said, and burst into tears. She had never cried in front of me; in fact, she had told me she rarely cried. It was one of the things we had in common.
Then she sniffed, wiped her eyes with the back of her hand, and said more clearly, “Do you understand?”
“Of course,” I said, although I didn’t entirely.
She looked straight into the camera for a moment and said, “Can I see you?”
At first I thought she meant, Could we meet up? I started to remind her that we had agreed that shouldn’t happen, but she cut me off.
“Switch on your camera.”
After a moment, I said, “I think it’s best if we don’t.”
“I want to see you,” said Tess. “You get to see me.” She was staring right at the camera, her tears almost dried up. She gave a small smile and I felt myself soften. It was hard to resist, and I almost said, Okay, then, but instead I said, “I don’t think it’s a good idea.”
She looked at me a moment longer. Then she shrugged and returned her gaze to the ceiling.
I will be honest here: I didn’t want Tess to see me in case I failed to meet her expectations. This isn’t rational, I know: Who knows what she thought I looked like, and what did it matter? But I had examined her face so carefully, I knew every nuance of her expressions, and I couldn’t bear the thought that, if I turned on the camera, I might see a look of disappointment pass over it, however briefly.
Then, still looking at the ceiling, she said, “I can’t do it.”
“Of course you can,” I said.
She didn’t speak for more than a minute, and then said, uncharacteristically meek: “Is it okay if we stop for today?” Without waiting for an answer, she terminated the call.
I admit that that particular conversation has replayed in my head several times since.
All I can say is, I said what felt right at the time. She was upset and I was comforting her. It seemed entirely natural for Tess to be scared. And when we spoke the next day, she was back to what by that stage was “normal”—calm, polite, and detached. The incident wasn’t mentioned again.
Then, a few days later, she looked into the camera and tapped on the lens, a habit she had.
“Do you have everything you need?”
I had presumed that we would go on communicating right up until the last moment. But I also knew it had to end.
So I said, “Yes. I think so.”
She nodded, as if to herself, and looked away. At that moment, knowing I was seeing her for the last time, I felt a sudden, intense rush of adrenaline and something akin to sadness.
After quite a long pause, she said, “I can’t thank you enough.” And then: “Good-bye.”
She looked into the camera and made a gesture like a salute.
“Good-bye,” I said, and: “Thank you.”
“Why are you thanking me?”
“I don’t know.” She was looking down at something, her leg or the bed. I stared at her long, flat nose, the curve of her cheekbone, the lines around her mouth as delicate as fallen eyelashes.
Then she looked up, leaned forward, and turned off the camera. And that was it. Our final conversation.
WEDNESDAY, AUGUST 17, 2011
There is no Internet here, not even dial-up.
I didn’t anticipate not being able to get online. Of course I had done my research, but the commune has no Web site and I could find little practical information elsewhere beyond directions on how to get here. There were just useless comments in forums, along the lines of Oh, I love it, it’s so peaceful and beautiful. I know that communes are places where people go to get “back to nature,” but I understood that they are also where people live and work on a semipermanent to permanent basis, and so assumed there would be some facility to get online. Spain is a developed country, after all.
I understand that Tess had to head to a remote spot, but three-quarters of the way up a mountain, without a phone mast in sight—that’s just unnecessary. Of all the places in the world, why did she choose to spend the last days of her life here?
I admit, though, that the location is not unpleasant. I’ve pitched my tent in a clearing with extensive views over the valley. The surrounding mountains are huge and colored various shades of green, blue, and gray, according to distance. At their feet is a thin silver river. The farthest peaks are capped with snow: an incongruous sight in this heat. Now that we’re going into evening, the sky is darkening to a mysterious misty blue.
There’s a woman here dressed like an elf, with a top exposing her stomach, and sandals laced up to her knees. Another one has bright red hair twisted up on either side of her head, like horns. Lots of the men have long hair and beards, and a few are wearing these priestlike skirts.
Most of them, however, look like the people begging at the cash points on Kentish Town Road, only extremely tanned. I had thought I might not look too out of place here—Mum used to say I had hair like a hippie, center parted and almost down to my waist—but I feel like I’m from a different planet.
Nobody here seems to do very much at all. As far as I can see, they just sit around poking fires and making tea in filthy saucepans, or drumming, or constructing unidentifiable objects out of feathers and string. There seems to be little “communal” about it, aside from a collective wish to live in a squalid manner for free. There are a few tents like mine, but most people seem to sleep in tatty vans with garish paintings on the side, or among the trees in shelters constructed out of plastic sheeting and bedspreads. They all smoke, and it appears obligatory to have a dog, and no one picks up their droppings. I’ve had to use half of my supply of wet wipes cleaning the wheels of my suitcase.
As for the human facilities, I was prepared for them to be rudimentary but was shocked when directed to a spot behind some trees signposted shitpit. Just a hole in the ground, with no seat and no paper, and when you look down you can see other people’s waste just lying there. I had promised myself that, after Mum, I wouldn’t have dealings with other people’s excrement and so have decided to make my own private hole in some nearby bushes.
It is, of course, everyone’s prerogative to live their lives in whichever way they choose, as long as they do not hurt others. But—like this?
Back in London, I felt near certain she had come here. It all seemed to add up. But now I’m starting to have doubts.
Nonetheless, I told myself I’d spend a week here making inquiries, and that is what I shall do. Tomorrow I’ll start showing her photo around. I’ve prepared a story about how she is a friend who stayed here last summer and whom I’ve lost track of but believe is still somewhere in the area. It’s not actually a lie. I just won’t mention that I’m looking for proof of her death.
It’s almost half past nine now, but it’s still sweltering. Of course, I had researched the temperature, but I wasn’t fully prepared for what ninety degrees Fahrenheit feels like. I have to keep wiping my fingers on a towel to stop moisture from getting into my keyboard.
It was even hotter in August last year, when Tess would have been here. Ninety-five degrees; I looked it up. She liked the heat, though. She looked like these people, with their sharp shoulder blades. She might have worn a little top like the elf woman—she had clothes like that.
I’ve opened the flap of my tent and can see a rash of stars and the moon, which is almost as bright as my laptop screen. The site is quiet now, except for the hum of insects and what I think—I hope—is the sound of a generator somewhere nearby. I’ll investigate that tomorrow. Although I have a spare battery for my laptop, I’ll need power.
You see, this is what I’m going to do while I’m here: write an account of everything that has happened.
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