If you’re among the dozen or so people who haven’t read Gillian Flynn’s Gone Girl yet, you really should. There hasn’t been a thriller with its kind of word-of-mouth popularity for quite a long while, and it’s all deserved. It’s the kind of book that has “crossed over” so many sub-markets and sub-genres that it’s prompted a lot of discussion as to why. What, exactly, makes Gone Girl go?
I’ve written a blog for my UK publisher, Orion, answering this very question. You can check it out at the Murder Room…
How Gillian Flynn Out-Highsmiths Highsmith
Gillian Flynn is a master of the psychological thriller.
She is, to my mind, not only working in the tradition of Patricia Highsmith, but her books are darker, funnier, more complex, more observant – better, in other words. And book by book, she keeps getting better. From Sharp Objects to Dark Places to the #1 New York Times bestselling Gone Girl (my pick for the best book of 2012) she is creating an exemplary body of work.
It’s why I’m cartwheelingly pleased to learn that she’s endorsed The Demonologist:
“A smart, thrilling, utterly unnerving novel. Pyper’s gift is that he deeply respects his readers, yet still insists on reducing them to quivering children. I like that in a writer.”