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  • Format: ePub

By the bestselling author of The Talented Mr Ripley , Carol and Strangers on a Train
'The Glass Cell has lost little of its disturbing power . . . Highsmith was a genuine one-off, and her books will haunt you' Daily Telegraph
Philip Carter has spent six years in prison for a crime he didn't commit. On his release his beautiful wife is waiting for him. He has never had any reason to doubt her. Nor their friend, Sullivan. Carter has never been suspicious, or violent. But prison can change a man.
In 1961, Patricia Highsmith received a fan letter from a prison inmate. A correspondence
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Produktbeschreibung
By the bestselling author of The Talented Mr Ripley, Carol and Strangers on a Train

'The Glass Cell has lost little of its disturbing power . . . Highsmith was a genuine one-off, and her books will haunt you' Daily Telegraph

Philip Carter has spent six years in prison for a crime he didn't commit. On his release his beautiful wife is waiting for him. He has never had any reason to doubt her. Nor their friend, Sullivan. Carter has never been suspicious, or violent. But prison can change a man.

In 1961, Patricia Highsmith received a fan letter from a prison inmate. A correspondence ensued and Highsmith became fascinated with the psychological traumas that incarceration can inflict.


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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