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You Should Have Left Audiobook by Daniel Kehlmann
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Title: You Should Have Left
Author: Daniel Kehlmann
Narrator: Peter Noble
Format: Unabridged
Length: 2 hrs and 2 mins
Language: English
Release date: 06-15-17
Publisher: riverrun
Genres: Mysteries & Thrillers, Psychological
Publisher's Summary:
A thrilling exploration of psychological disturbance and fear from the best-selling and prize-winning author of Measuring the World.
On retreat in the wintry Alps with his family, a writer is optimistic about completing the sequel to his breakthrough film. Nothing to disturb him except the wind whispering around their glassy house. The perfect place to focus.
Intruding on that peace of mind, the demands of his four-year-old daughter splinter open long-simmering arguments with his wife. 'I love her,' he writes in the notebook intended for his script. 'Why do we fight all the time?' Guilt and expectation strain at his concentration and strain, too, at the walls of the house. They warp under his watch; at night, looking through the window, he sees impossible reflections on the snow outside.
Then words start to appear in his notebook - words he didn't write.
Familiar and forbidding by turns, this is an electrifying experiment in form by one of Europe's boldest writers. The ordinary struggles of a marriage transform, in Kehlmann's hands, into a twisted fable that stays darkly in the mind.
Members Reviews:
Powerful, Terrifying, Heartbreaking
This was a powerful little book; surreal and terrifying and heartbreaking. A horrific joy to read, and to experience.
Terrifying!!
Short and powerful, this story (written in journal entries) is scary in a way that very few books are - turn off the lights and enjoy!!!
Decent Novella with an Oddly Abrupt Ending
A successful screenwriter rents an AirBnB in the mountains to write. His studio wants a sequel, and his family needs the money. But secluded on a vacation cabin with his glamorous, bored actress wife and their daughter, the words begin to flow. Until the bad dreams begin. And right angles donât add up to ninety degrees. And his little girl wakes up speaking prophecies of doom.
Veteran novelist Daniel Kehlmann is a household name in Germany, but remains largely unknown to English-speaking readers. This novella might change that. Mixing elements of Shirley Jackson, Stephen King, and Elizabeth Hand, Kehlmann creates the kind of creeping dread that American paperback readers love, channeled through the kind of linguistic mindset that gave us Thomas Mann and Günter Grass.
The story unfolds as our nameless narratorâs journal. On one hand, he jots notes for his screenplay, a John Hughes-like coming-of-age comedy where two âBestiesâ adjust to an adult friendship. The story provides ironic commentary on events building around him, as his vacation home apparently grows new bedrooms overnight, reveals a massive mountain nobody else can see, and insinuates itself into his marriage. Symbolism abounds.
The story immediately invites comparison to Kingâs The Shining and Jackson's The Haunting of Hill House. Kehlmann doesn't even pretend to deny such allusions, though he doesn't acknowledge them either. But such comparisons, while accurate, are nevertheless incomplete. Kehlmann doesn't so much present a horror novella, as a novella of what Freud calls âthe Uncanny,â the subconscious made manifest in the protagonist's senses.
The house seemingly accentuates its inhabitantsâ identities. When the narrator and his wife fight, they fight like feral cats cornered in the same Dumpster. When they agree, they mesh like two hemispheres of the same brain.
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Title: You Should Have Left
Author: Daniel Kehlmann
Narrator: Peter Noble
Format: Unabridged
Length: 2 hrs and 2 mins
Language: English
Release date: 06-15-17
Publisher: riverrun
Genres: Mysteries & Thrillers, Psychological
Publisher's Summary:
A thrilling exploration of psychological disturbance and fear from the best-selling and prize-winning author of Measuring the World.
On retreat in the wintry Alps with his family, a writer is optimistic about completing the sequel to his breakthrough film. Nothing to disturb him except the wind whispering around their glassy house. The perfect place to focus.
Intruding on that peace of mind, the demands of his four-year-old daughter splinter open long-simmering arguments with his wife. 'I love her,' he writes in the notebook intended for his script. 'Why do we fight all the time?' Guilt and expectation strain at his concentration and strain, too, at the walls of the house. They warp under his watch; at night, looking through the window, he sees impossible reflections on the snow outside.
Then words start to appear in his notebook - words he didn't write.
Familiar and forbidding by turns, this is an electrifying experiment in form by one of Europe's boldest writers. The ordinary struggles of a marriage transform, in Kehlmann's hands, into a twisted fable that stays darkly in the mind.
Members Reviews:
Powerful, Terrifying, Heartbreaking
This was a powerful little book; surreal and terrifying and heartbreaking. A horrific joy to read, and to experience.
Terrifying!!
Short and powerful, this story (written in journal entries) is scary in a way that very few books are - turn off the lights and enjoy!!!
Decent Novella with an Oddly Abrupt Ending
A successful screenwriter rents an AirBnB in the mountains to write. His studio wants a sequel, and his family needs the money. But secluded on a vacation cabin with his glamorous, bored actress wife and their daughter, the words begin to flow. Until the bad dreams begin. And right angles donât add up to ninety degrees. And his little girl wakes up speaking prophecies of doom.
Veteran novelist Daniel Kehlmann is a household name in Germany, but remains largely unknown to English-speaking readers. This novella might change that. Mixing elements of Shirley Jackson, Stephen King, and Elizabeth Hand, Kehlmann creates the kind of creeping dread that American paperback readers love, channeled through the kind of linguistic mindset that gave us Thomas Mann and Günter Grass.
The story unfolds as our nameless narratorâs journal. On one hand, he jots notes for his screenplay, a John Hughes-like coming-of-age comedy where two âBestiesâ adjust to an adult friendship. The story provides ironic commentary on events building around him, as his vacation home apparently grows new bedrooms overnight, reveals a massive mountain nobody else can see, and insinuates itself into his marriage. Symbolism abounds.
The story immediately invites comparison to Kingâs The Shining and Jackson's The Haunting of Hill House. Kehlmann doesn't even pretend to deny such allusions, though he doesn't acknowledge them either. But such comparisons, while accurate, are nevertheless incomplete. Kehlmann doesn't so much present a horror novella, as a novella of what Freud calls âthe Uncanny,â the subconscious made manifest in the protagonist's senses.
The house seemingly accentuates its inhabitantsâ identities. When the narrator and his wife fight, they fight like feral cats cornered in the same Dumpster. When they agree, they mesh like two hemispheres of the same brain.