Rachel Edwards - Böcker

A teenage girl clashes with her new stepmother in this debut thriller with an unforgettable twist‘A pile-up of devastating plot twists’ Bernardine Evaristo, author of Booker-winning Girl, Woman, Other‘Dark, deep, thought-provoking. Go and read it!’ Adele Parks ‘Similar in spirit to We Need to Talk About Kevin’ Sunday Times ‘Genuinely unputdownable’ Clare Fisher, author of All the Good Things ‘Sure to be a reading group favourite’ Metro ‘Stunning’ Laura Marshall, author of Friend Request‘The twists and turns left me reeling’ Eleanor Wasserberg, author of Foxlowe I knew she was trouble from the moment I saw her. I felt it as she stood in the doorway that day: disaster. Not just because she was so different, that skin and that hair, as different from me as it’s possible to be. There was something wrong about her. Wrong for us. It was never going to work. Now she is dead and only I am left to love him. She is dead, and it’s all my fault.

‘I devoured it.’ Erin Kelly‘An exhilarating voice’ Adele Parks‘Unbelievably tense and twisty.’ Laura MarshallLuckyRachel EdwardsThe more she wins, the more she loses…‘Absorbing, unsettling, unflinching. I’ve been thinking about it for days and I’ll be recommending it to everyone.’ Caz Frear, author of Sweet Little LiesSomeone is watching Etta. Footsteps in the night, the security light coming on at strange hours … is it all just her curtain-twitching neighbours, who seem to monitor her every move? Or is her little online problem making her paranoid?Because Etta needs to win big. She joined a gambling website to get a bit of cash, hoping to convince her boyfriend Ola that they can afford to get married. And she was so good at it … until she wasn’t. Luckily, she’s made a friend who hit the jackpot and if she plays her cards right, he could lend her the money to win everything back. Easy. So why does she feel so afraid?

‘I devoured it.’ Erin Kelly‘An exhilarating voice’ Adele Parks‘Unbelievably tense and twisty.’ Laura MarshallLuckyRachel EdwardsThe more she wins, the more she loses…‘Absorbing, unsettling, unflinching. I’ve been thinking about it for days and I’ll be recommending it to everyone.’ Caz Frear, author of Sweet Little LiesSomeone is watching Etta. Footsteps in the night, the security light coming on at strange hours … is it all just her curtain-twitching neighbours, who seem to monitor her every move? Or is her little online problem making her paranoid?Because Etta needs to win big. She joined a gambling website to get a bit of cash, hoping to convince her boyfriend Ola that they can afford to get married. And she was so good at it … until she wasn’t. Luckily, she’s made a friend who hit the jackpot and if she plays her cards right, he could lend her the money to win everything back. Easy. So why does she feel so afraid?

The 1933 killing by the Papin sisters of their mistress and her daughter was an act of unexampled violence by women against women, whose repercussions have been felt in French culture ever since. It received wide journalistic coverage at the time, and subsequently prominent literary figures such as Jean-Paul Sartre, Simone de Beauvoir and Jean Genet have dealt with the case, which has also formed the basis of a stage play (by Wendy Kesselmann) and films by Nico Papatakis, Nancy Meckler and Claude Chabrol. The case casts fascinating light on French provincial life between the wars, the role of women (especially unmarried ones) in French society, and French views of the criminal outsider. Its impact on psychoanalytic discourse, through the work first of Jacques Lacan, then of Francis Dupré and Marie-Magdeleine Lessana, has also been considerable, notably in its contribution to the development of the key notion of the mirror-phase. The almost obsessive recurrence of the case makes of it a fascinating prism through which to examine multiple aspects of recent French culture.

The 1933 killing by the Papin sisters of their mistress and her daughter was an act of unexampled violence by women against women, whose repercussions have been felt in French culture ever since. It received wide journalistic coverage at the time, and subsequently prominent literary figures such as Jean-Paul Sartre, Simone de Beauvoir and Jean Genet have dealt with the case, which has also formed the basis of a stage play (by Wendy Kesselmann) and films by Nico Papatakis, Nancy Meckler and Claude Chabrol. The case casts fascinating light on French provincial life between the wars, the role of women (especially unmarried ones) in French society, and French views of the criminal outsider. Its impact on psychoanalytic discourse, through the work first of Jacques Lacan, then of Francis Dupré and Marie-Magdeleine Lessana, has also been considerable, notably in its contribution to the development of the key notion of the mirror-phase. The almost obsessive recurrence of the case makes of it a fascinating prism through which to examine multiple aspects of recent French culture.