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RENATA ADLER was born in Milan and raised in Connecticut. She received a B.A. from Bryn Mawr, an M.A. from Harvard, a D.d'E.S from the Sorbonne, a J.D. from Yale Law School, and an LL.D. (honorary) from Georgetown. Adler became a staff writer at The New Yorker in 1963 and, except for a year as the chief film critic of The New York Times, remained at The New Yorker for the next four decades. Her books include A Year in the Dark (1969); Toward a Radical Middle (1970); Reckless Disregard: Westmoreland v. CBS et al., Sharon v. Time (1986); Canaries in the Mineshaft (2001); Gone: The Last Days of The New Yorker (1999); Irreparable Harm: The U.S. Supreme Court and The Decision That Made George W. Bush President (2004); and the novels Speedboat (1976; winner of the Ernest Hemingway Award for Best First Novel) and Pitch Dark (1983).
'the description of the night drive across Ireland in the unlit dark is wonderfully done, because it is unclear both to the reader and the narrator whether her fears are real or a hysterical delusion' Literary Review 'She is one of the most brilliant-that is, vivid, intense, astute, and penetrating-essayists in contemporary letters, and most contrarian: much of what you think she will passionately undo. And she is a novelist whose voice, even decades after her books were written, seems new and original, and, if you are a writer, one you wish were your own.' Michael Wolff, The Guardian 'Two things hold Pitch Dark together and give it speed and magic. The first is Miss Adler's gift for language and observation ... and the second is her willingness to write candidly, even rawly, about emotions.' Michiko Kakutani, The New York Times 'These novels are records of a penetrating intelligence, a skeptical intelligence (but, thank God, not a reflexively skeptical intelligence). They are novels that persuade you of their claims to truth, and ones in which any literate young person in publishing in New York can see a bit of her or himself [...] It's great to have these novels back in print, at long last.' Meghan O'Rourke, The New Yorker 'Adler's novels concede the necessity of making fiction quicker, more terse, descriptively less elaborate than the traditional thing called a novel, not so much in deference to shrunken attention spans, but as the most plausible way of rendering the distracted, fragmentary quality of contemporary consciousness [...] They describe what it's like to be living now, during this span of time, in our particular country and our particular world. This is what the best novels have always done, and with any luck will continue to do.' Gary Indiana, Bookforum 'Pitch Dark, like Speedboat, exudes a certain openness, a vulnerability, even. Adler dispenses with the defined paths of traditional narrative, along with expectations of order and sequence, and instead pieces together a collage of consciousness.' Jennifer Szalai, The New York Times Book Review 'If you simply allow [Adler's fragments] to settle in their own patterns, flashing light where they will, you'll find Pitch Dark a bright kaleidoscope of a book.' Anne Tyler