{"product_id":"you-should-have-left-isbn-9780525432913","title":"You Should Have Left","description":"\u003cb\u003eNOW A MAJOR MOTION PICTURE • From the internationally bestselling author of \u003ci\u003eThe Director,\u003c\/i\u003e an eerie and supernatural tale of a writer's emotional collapse\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e“Mind-bending. . . . Part horror, part science fiction.” —\u003ci\u003eThe New York Times Book Review\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\"This is a story about a marriage in trouble, and about a seemingly impossible desire to protect a young child . . . but also about something else, something unavoidable and powerful but terrifyingly vague.” —\u003ci\u003eThe Spectator\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e“Clever, exquisitely terrifying. . . . [Kehlmann] makes entertainment out of metaphysics.” —\u003ci\u003eHarper’s Magazine\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eA screenwriter, his wife, and their four-year old daughter rent a house in the mountains of Germany, but something isn’t right. As he toils on a sequel to his most successful movie, the screenwriter notices that rooms aren’t where he remembers them—and finds in his notebook words that are not his own.“Mind-bending. . . . Part horror, part science fiction.” —\u003ci\u003eThe New York Times Book Review\u003cbr\u003e\u003c\/i\u003e\u003cbr\u003e“A book that should carry a health warning: read alone at your own risk.” —\u003ci\u003eMonocle\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e “Riveting.” —\u003ci\u003eEntertainment Weekly\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“Clever, exquisitely terrifying. . . . [Kehlmann] makes entertainment out of metaphysics.” —\u003ci\u003eHarper’s Magazine\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e “A masterclass in economical storytelling, meticulously attentive prose and imaginative agility. Kehlmann creates narrative complexity with the deftest of strokes.” —\u003ci\u003eThe Literary Review\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“[A] master novelist. . . . [Kehlmann] has a rare ability to make complex ideas the stuff of warm, light fiction.” —\u003ci\u003eThe Times Literary Supplement\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e “A beautifully crafted exercise in terror. . . . [Kehlmann] creates a sense of existential dread that transcends the typical ghost story. . . . A book to keep you up at night.” —\u003ci\u003eKirkus Reviews \u003c\/i\u003e(starred review)\u003cbr\u003e  \u003cbr\u003e “[Kehlmann] is in total control. . . . He and his translator Ross Benjamin squeeze an enormous amount of readerly anxiety out of very few carefully placed words. . . . This is a story about a marriage in trouble, and about a seemingly impossible desire to protect a young child from threatening reality, but also about something else, something unavoidable and powerful but terrifyingly vague. . . . This little book . . . has a funny way with dimensions—its effects are amplified, and they linger.” —\u003ci\u003eThe Spectator\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e “A masterful experiment about the limits of literary realism.” —\u003ci\u003eThe Brooklyn Rail\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e “Wry, eerie and increasingly terrifying. . . . Kehlmann is a formidable observer with a flair for articulating dysfunctional behaviour. . . . An entertaining Everyman’s postmodernist Gothic guaranteed to unsettle.” —\u003ci\u003eThe Irish Times\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e “A quick, fun, breathless read. It’s inventive and scary—and a delightful take on the writing life.” —\u003ci\u003eThe Huffington Post\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e “Chilling. . . . Kehlmann makes deft use of horror staples and offers commentary on the distinction between art and life.” —\u003ci\u003ePublishers Weekly\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e“A taut and scary novella.” —\u003ci\u003eThe Sunday Times\u003c\/i\u003e (London)Daniel Kehlmann was born in Munich in 1975 and lives in Berlin and New York. His works have won the Candide Prize, the Doderer Prize, the Kleist Prize, the Welt Literature Prize, and the Thomas Mann Prize\u003ci\u003e. Measuring the World\u003c\/i\u003e was translated into more than forty languages and is one of the greatest successes in postwar German literature.I don’t understand why I had a dream like that after such a blissful evening.\u003cbr\u003e \u003cbr\u003eAn empty room. A naked lightbulb on the ceiling, in the corner a chair with only three legs, one of them broken off. The door was locked; what was I afraid of?\u003cbr\u003e \u003cbr\u003eThe woman. Her narrow eyes were very close together, on either side of the root of her nose, which had a deep wrinkle down the middle. Her forehead too was wrinkled, and her lips were slightly open, so that I could see her teeth, yellowish like those of heavy smokers. But it was her eyes that were awful. \u003cbr\u003e \u003cbr\u003eShe stood there while my fear grew unbearable. I was trembling, I had difficulty breathing, my eyes were watering, my legs went weak—this didn’t actually happen to my real body, of course, so is it possible that I wasn’t afraid at all, that it was only my dream self, just as only my dream hands were trembling? No, the fear was as real as fear can be, and burned in me, and when it was no longer tolerable, the woman took a step back, as if she were releasing me, and only then was I back in our bedroom, where I heard Susanna’s steady breathing and saw the moonlight falling softly through the window, and the baby monitor showed our daughter in a deep sleep.\u003cbr\u003e \u003cbr\u003e \u003cbr\u003eBreakfast: Bright grass and even brighter sun, no clouds, the air full of birds whose names I don’t know; I’ve always regretted that I can’t identify birds by name. The way they let the wind carry them, as effortlessly as if flying were the norm, as if it took hard work to stay on the ground.\u003cbr\u003e \u003cbr\u003eAt the moment Susanna is reading to Esther for the thousandth time from the book about the mouse and the cheese moon, the little one is laughing and clapping, and I’m quickly finishing my writing before I head out. We’re running low on provisions, someone has to go down to the village, and I volunteered. Get away. Susanna said thank you and held my hand, and I looked into her eyes. They’re not actually blue, more turquoise, with a sprinkling of black.\u003cbr\u003e \u003cbr\u003e \u003cbr\u003eWill you read me your new scenes?\u003cbr\u003eYou don’t really want me to. \u003cbr\u003eDon’t be so sensitive, of course I do. \u003cbr\u003eI don’t have much yet. \u003cbr\u003e \u003cbr\u003e \u003cbr\u003eIt just dawned on me where I know the terrifying woman from. I saw her in the photo on the wall in the laundry room—just to the right of the Miele washing machine and the dryer, I noticed it on the first day. But to get nightmares from that is really too much.","brand":"Vintage","offers":[{"title":"Default Title","offer_id":46301807870181,"sku":"NP9780525432913","price":16.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9780525432913.jpg?v=1767744766","url":"https:\/\/k12savings.com\/products\/you-should-have-left-isbn-9780525432913","provider":"K12savings","version":"1.0","type":"link"}