Eleven

"What is striking about these stories is their integrity: they are all of a piece; they grow, with that tensed-spring inevitability of the unfolding rose observed by elapsed-time photography; together they are a brilliant collection." --The Sunday Times (London) "The mood of nagging apprehension is consistent, skillfully underplayed so that just the right amount of chill is induced with an economy of means." --J. R. Frankes, The New York Times Book Review "Highsmith is the poet of apprehension rather than fear. . . . In her short stories Highsmith naturally has to adopt a different method. She is after the quick kill rather than the slow encirclement of the reader, and how admirably and with what field-craft she hunts us down." --Graham Greene "Highsmith's genius is in presenting fantasy's paradox: successes are not what they seem . . . Where in the traditional fairy tale the heroine turns the toad into a prince, in Highsmith's fable the prince becomes a toad--success is nearly always fatal. . . . Combining the best features of the suspense genre with the best of existential fiction--a reflection--the stories are fabulous, in all senses of that word." --Paul Theroux "A brilliant collection." --The Sunday Times (UK) "One of the truly brilliant short-story writers of the 20th century." --Otto Penzler "She's sui generis, a writer of almost occult power."--Richard Rayner, Los Angeles Times What is striking about these stories is their integrity: they are all of a piece; they grow, with that tensed-spring inevitability of the unfolding rose observed by elapsed-time photography; together they are a brilliant collection. The Sunday Times (London) The mood of nagging apprehension is consistent, skillfully underplayed so that just the right amount of chill is induced with an economy of means. J. R. Frankes, The New York Times Book Review Highsmith is the poet of apprehension rather than fear. . . . In her short stories Highsmith naturally has to adopt a different method. She is after the quick kill rather than the slow encirclement of the reader, and how admirably and with what field-craft she hunts us down. Graham Greene Highsmith s genius is in presenting fantasy s paradox: successes are not what they seem . . . Where in the traditional fairy tale the heroine turns the toad into a prince, in Highsmith s fable the prince becomes a toadsuccess is nearly always fatal. . . . Combining the best features of the suspense genre with the best of existential fictiona reflectionthe stories are fabulous, in all senses of that word. Paul Theroux "A brilliant collection. "The Sunday Times" (UK) One of the truly brilliant short-story writers of the 20th century. Otto Penzler "She s sui generis, a writer of almost occult power. Richard Rayner, "Los Angeles Times"" Praise for Patricia Highsmith and "Eleven" "A brilliant collection." --"The Sunday Times" (UK) "Highsmith is the poet of apprehension rather than fear. ... In her short stories Highsmith naturally has to adopt a different method. She is after the quick kill rather than the slow encirclement of the reader, and how admirably and with what field-craft she hunts us down." --Graham Greene "One of the truly brilliant short-story writers of the 20th century." --Otto Penzler "Highsmith's genius is in presenting fantasy's paradox: successes are not what they seem . . . Where in the traditional fairy tale the heroine turns the toad into a prince, in Highsmith's fable the prince becomes a toad--success is nearly always fatal. ... Combining the best features of the suspense genre with the best of existential fiction--a reflection--the stories are fabulous, in all senses of that word."--Paul Theroux "The mood of nagging apprehension is consistent, skillfully under