Faldistoire’s grandfather thinks he’s a ghost. Sylvie’s mother reads Tarot and summons stormclouds to mete her witch’s justice. Behind his Dad of the Year demeanor, Sébastien’s father hides dark designs. It’s Croustine’s grandfather who makes the boy a pair of slippers from the dead family dog, but it’s his dad, the uncannily-named Kevin Lambert, who always seems to be nearby when tragedy strikes, and in the cemetery, under the expressionless gazes of toads, small graves are continuously being dug: Chicoutimi, Quebec, is a dangerous place for children. But these young victims of rape, accidental violence, and senseless murder keep coming back. They return to school, discover their sexualities, keep tabs on grown-up sins—and plot their apocalyptic revenge. Surreal and darkly comic, the debut novel by Kevin Lambert, one of the most celebrated and controversial writers to come out of Quebec in recent memory, takes the adult world to task—and then takes revenge.
Born in 1992, Kevin Lambert grew up in Chicoutimi in the Saguenay-Lac-Saint-Jean region of Quebec. He graduated from the University of Montreal with a Master's degree in Creative Writing and is currently pursuing a PhD in Creative Writing under the direction of Catherine Mavrikakis. Heliotrope published his first novel, Tu aimeras ce que tu as tué, in March 2017, and his second, Querelle de Roberval, in 2018. His article “Can We Write Literary History Backwards?,” on Jean Basile’s novel Me déshabiller n'a jamais été une tâche facile, won Spirale’s Pierre L'Hérault Prize for Emerging Criticism in 2017. Kevin Lambert is a bookseller at Le Port de tête in Montreal.
“Death lurks in the daily life of these mad children who form ambivalent friendships, initiate cruel vendettas and throw punches . . . This book is poisonously beautiful. ”—Librairie Marie-Laura
“Difficult to describe, because wildly strange, but also furiously bewitching. Let us rejoice that this man who was born in Chicoutimi in 1992 obviously has accounts to settle; Quebec literature rarely allows such ferocity . . . The dark song of an angry queer young man, a fantasy of twisted vengeance, the hallucinated dream of an apocalypse as life-saving as a forest fire: You Will Love What You Have Killed exaggerates to its limits the ordinary ugliness of a Quebec caught in the grip of its prejudices . . . it is precisely because he speaks of reality that Kevin Lambert's novel evokes the taste of vomit. ”—Dominic Tardif, Le Devoir
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