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  • Format: ePub

By the bestselling author of The Talented Mr Ripley , Carol and Strangers on a Train
'Highsmith's novels are peerlessly disturbing . . . bad dreams that keep us thrashing for the rest of the night' New Yorker
Sydney Bartleby has killed his wife. At least, he has thought about it, compulsively, repeatedly, plotting schemes, designing escapes, forging alibis. Of course he has; he's a thriller writer. He even knows how to dispose of her body. But when Alicia takes a long, unannounced holiday, Sydney descends into the treacherous world of his own fantasy.
A masterpiece of noir fantasy
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Produktbeschreibung
By the bestselling author of The Talented Mr Ripley, Carol and Strangers on a Train

'Highsmith's novels are peerlessly disturbing . . . bad dreams that keep us thrashing for the rest of the night' New Yorker

Sydney Bartleby has killed his wife. At least, he has thought about it, compulsively, repeatedly, plotting schemes, designing escapes, forging alibis. Of course he has; he's a thriller writer. He even knows how to dispose of her body. But when Alicia takes a long, unannounced holiday, Sydney descends into the treacherous world of his own fantasy.

A masterpiece of noir fantasy in which Highsmith revels in eliciting the unsettling psychological forces that lurk beneath the surface of everyday life.


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Autorenporträt
Patricia Highsmith (1921-1995) was born in Fort Worth, Texas, and moved to New York when she was six. In her senior year, she edited the college magazine, having decided at the age of sixteen to become a writer. Her first novel, Strangers on a Train (1950), was made into a classic film by Alfred Hitchcock in 1951. The Talented Mr Ripley (1955), introduced the fascinating anti-hero Tom Ripley, and was made into an Oscar-winning film in 1999 by Anthony Minghella. Highsmith died in Locarno, Switzerland, in February 1995. Her last novel, Small g: A Summer Idyll, was published posthumously, the same year.
Rezensionen
Bears Highsmith's unique, unsurpassed mixture of unsettling psychological insights, moods of tension and malice, and an ending of brilliant ambiguity The Times