The Glass Pearls (Faber Editions)
This thrilling tale of an ex-Nazi surgeon hiding in plain sight in 1960s London by the celebrated filmmaker is a forgotten feat of Hitchcockian noir, introduced by Anthony Quinn (author of Curtain Call and Our Friends in Berlin).
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For fans of The Passenger, this thrilling tale of an ex-Nazi surgeon hiding in plain sight in 1960s London by the celebrated filmmaker is a lost noir gem, introduced by Anthony Quinn.
‘A wonderfully compelling noir thriller and audacious and challenging act of imagination.’ William Boyd
‘This extraordinary novel had me hooked from start to finish.’ Sarah Waters
Nothing is more inviting to disclose your secrets than to be told by others of their own …
London, June 1965. Karl Braun arrives as a lodger in Pimlico: hatless, with a bow-tie, greying hair, slight in build. His new neighbours are intrigued by this cultured German gentleman who works as a piano tuner; many are fellow émigrés, who assume that he, like them, came to England to flee Hitler. That summer, Braun courts a woman, attends classical concerts, dances the twist. But as the newspapers fill with reports of the hunt for Nazi war criminals, his nightmares become increasingly worse …
‘A haunting, remarkable novel, as startlingly original as any of Pressburger’s films.’ Nicola Upson
‘A dark and harrowing window on the past: the ending will haunt your dreams.’ Janice Hallett
At once a wonderfully compelling noir thriller and, more significantly, an audacious and challenging act of imagination. A tremendous rediscovery.
This extraordinary novel had me hooked from start to finish, and left me with so much to brood on that I felt giddy ... A fascinating, morally complex, deeply unsettling read.
A dark and harrowing window on the past, one that not only cracks open the horror of Nazi atrocities, but also evokes the cloying paranoia of post-war London. The ending will haunt your dreams. This is a novel that should never be forgotten again.
Remarkable daring ... The morbid tension of a thriller ... Focusing on a guilty man hiding in plain sight lends the novel its strange, wrong-footing power ... Artful and chilling.
A haunting, remarkable novel, as startlingly original as any of Pressburger's film work. Fearless, deftly manipulative and impossible to forget.
Deserves to be recognized both for its own virtuosity, and as an important addition to the genre of Holocaust literature … A master class in rendering the banality of evil … Magnificent.
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