- With an Afterword by César Aira.
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‘A beautiful and mesmerizing modernist experiment . . . The writing is crisp and direct, in stark contrast to the intricate psychological darkness the narrator inhabits, and it leaves the reader questioning every detail. Unsettling and masterful, this short but dense novel should entice fans of literary giants like Virginia Woolf and Clarice Lispector.’
‘Intimate and vital … this is an exquisite novel, full of light, shadows, and profound revelations.’
'Short, poetic, and alluring . . . Readers who like unreliable protagonists and enjoy being kept on their toes will be up for the challenge.'
‘Female experience in all its isolate weirdness as narrated by a voyeuristic woman with a sensuous sensibility. I want to trust this woman but I don’t, which makes People in the Room all the scarier.’
‘Deathly scenes from a wax museum come to life, in a closed, feminine world.’
‘PEOPLE IN THE ROOM brings to mind the alluring uncertainty of Shirley Jackson's Hangsaman, the imaginative intensity of adolescence transformed into masterful fiction.’
'Lange deftly updates a classic fairy tale motif into this cryptic, telling, spellbinding piece of modernist writing.'
‘With her singular, powerful voice and her radical turnings of the screw of detective fiction, Lange joins a wave of classic women writers including Clarice Lispector and Leonora Carrington whose rediscovery has altered the terrain of Latin American literature.’
‘Lange breaks the canon that was suffocating women writers at the beginning of the twentieth century.’
‘Only the dominant machismo of her era meant that Norah Lange was usually noted more for her Norwegian beauty than for her stature as a great writer. In People in the Room, Lange’s intensity and clarity are reminiscent of Virginia Woolf’s finest moments in Mrs Dalloway.’