RANGE: The book deftly handles three different intersecting storylines: the first in the 1600s, the second during World War II, and the third in contemporary times.
WOMEN: This is a novel with a cast of gritty, indomitable, unforgettable female characters.
NATURE: As always in Wyld’s books, the natural world is rendered with stunning assuredness, in all its menace and uncompromising beauty.
BOOKSELLER AND CRITICAL FAVORITE: Wyld’s previous novel, All the Birds, Singing, won B&N’s Discover Award for Fiction, was featured by Amazon as a pick for best of the year from Gayle Forman, and had vocal fans among the indie booksellers. It was also a New York Times Notable Book and on many other year-end lists.
AWARDS: All the Birds, Singing won the Miles Franklin Award (Australia’s most prestigious prize), the Encore Award, and the European Union Prize for Literature. It was short-listed for the Costa Award, for Best Novel, the James Tait Black Memorial Prize, and the Prix Médicis, and long-listed for the Bailey’s Women’s Prize for Fiction. Wyld’s first novel, After the Fire, a Still Small Voice, won the prestigious John Llewellyn Rhys Prize and the Betty Trask Award. It was short-listed for the Orange Prize for New Writers, the Commonwealth Writers’ Prize, the Authors’ Club First Novel Award, and the International IMPAC Dublin Literary Award.
BEST YOUNG BRITISH NOVELIST: Evie Wyld was selected for the once-a-decade Granta list of the Best Young British Novelists. She was also one of the BBC Culture Show’s 12 most promising British novelists.
U.K. PUBLICATION: Evie’s new novel has been hotly anticipated in the U.K. and their publication in March will make a big impact there. We’ll have reviews and other press to work with.
AUTHOR: Evie is a bookseller in London.
“A wondrous and disturbing novel…Observant, melodic, imaginative…Moves from comic to deeply unnerving…The message it leaves you with—down to its expertly chilling final line—is certainly dark. But in delivering it, Wyld consistently entertains, juggling the pleasures of several different genres.” —John Williams, The New York Times
“The most gripping thing I’ve read in ages…A haunted house of a novel, as intricately built as relentlessly ominous…It’s that rare literary novel that will give you shudders…Wyld is so controlled and subtle a storyteller that her themes remain elegantly beneath the surface. What carries you along is the vivid description and an atmosphere of rising dread.” —Taylor Antrim, Vogue
“An expertly layered, quietly suspenseful novel…This author seizes her readers with the swift grace of the wild predators she often describes, then sets them down on terrain so richly imagined it seems to fill the senses…[She is] a consummately sly storyteller…There are unmistakable echoes here of Daphne du Maurier’s Rebecca, not only in Wyld’s subtle depiction of a woman adrift on sinister, restless tides but also in her shrewd depiction of a ruling class inured to brutality.” —Anna Mundow, Wall Street Journal
“Riveting…The descriptions, at times, are so powerful that you’ll have to remind yourself you’re not on the coast of Scotland walking in the freezing rain…Like any good gothic novel, there is a dark old house full of noises and things that go bump in the night…But this is not simply a gothic novel or a catalogue of horrors, there are moments of deep tenderness and even a few good laughs…This is a book that men need to read; we women, we already know, but we should read it too.” —Brooklyn Rail
“Like Sarah Waters and Attica Locke, Hannah Kent and Celeste Ng, Evie Wyld writes novels that are fast-paced page-turners with meticulously crafted narratives.” —Chicago Review of Books
“Excellent…The Bass Rock holds more than a little in common with Kate Atkinson…Also easily draws comparisons to Virginia Woolf.” —Newcity Lit (Chicago)
“A haunting survival tale that lingers long after the last page…Steeped in grief and teeming with ghosts, Wyld’s new novel explores violence against women throughout time…A sense of foreboding hangs over the novel like a shroud…Time and time again, Wyld artfully proves the female body knows (even if the mind won’t accept) the dangers lurking all around.”
“The Bass Rock is a multi-generational modern gothic triumph. It is spectacularly well-observed, profoundly disquieting, and utterly riveting. Like all Evie Wyld’s work it is startlingly insightful about psychological and physical abuse. It is a haunting, masterful novel.”
—Max Porter, author of Grief Is the Thing With Feathers
“Hard to stop reading.”
—Annie Bostrom, Booklist
“A gothic novel, a family saga and a ghost story rolled into one…Psychologically fearless…Searingly controlled…Wyld is a genius of contrasting voices and revealed connections.”
—Justine Jordan, The Guardian
“The modern sections feel a little like Ali Smith’s novels crossed with the TV series Fleabag …There’s much to admire in its little miracles of observation…Wyld is also wonderful at describing moments of sudden lust and violence. And she knows how to maintain suspense, what to withhold and when to reveal it—right up to the spine-chilling last line.”
—Johanna Thomas-Corr, The Sunday Times
“A multilayered masterpiece; vivid, chilling, leaping jubilantly through space and time, it’s a jaw dropping novel that confirms Wyld as one of our most gifted young writers.”
—Alex Preston, Observer (UK)
“Amazingly good. The Bass Rock will fill the air around you with angry ghosts and you will be glad to be in their company.”
—Adam Foulds, Booker Finalist, author of The Quickening Maze
“The Bass Rock is a bewitching and atmospheric novel, laced with dread. It reveals the haunted house of society, with all its echoes of damaged and extinguished lives, but is also illuminated by beautiful observation about people, and the timelessness of their capacity for both violence and empathy.”
—James Scudamore, author of Heliopolis
“A dark, gristly marvel of a novel. The Bass Rock held me in thrall from cover to cover. Evie Wyld is a gothic genius: her narrative of the violence inflicted on women throughout the centuries and the seething, female anger left in its wake left me with a deep sense of disquiet that will doubtless remain for years to come.”
—Hannah Kent, author of Burial Rites
“Written with blistering force and righteous anger, this outstanding novel will stay with me for a long time.”
—Alice O’Keeffe, The Bookseller (Book of the Month)
“Wyld is the most stupendous of writers, daring, heartfelt, explosive. The Bass Rock reminds us of all her power and brilliance, it thrums with an anger it is impossible not to feel.”
—Daisy Johnson, Booker Finalist, author of Everything Under
“Bewitching…Evie Wyld is exceptionally good at the gruesome…With great dexterity and style, Wyld illustrates how abuse forms a cycle that may take generations to break. The action moves seamlessly between the 1700s, the middle of the last century, and the recent past… The Bass Rock is beautifully written and its particular brand of macabre is all Evie Wyld’s own. The tension, foreboding and sense of inevitability are hard to shake off, even once the final page is turned. Its atmosphere is so powerful that you feel you need to go for a walk afterwards the blow the shadows away.”
—Cressida Connolly, Literary Review
“Evie Wyld is the author of two excellent novels but she moves up a gear with her third…Superbly written…Shockingly satisfying…Each of these separately lonely women are startling well drawn, yet the threads running through their lives are universal… The Bass Rock deserves to win prizes.”
—Claire Allfree, Metro
“Evie Wyld’s tremendous new novel, The Bass Rock, is a powerful and beautifully written narrative of male violence and the three women who endured it.”
—William Boyd, The Telegraph
“Wyld is unhesitatingly brave in her writing…Her delineation of the [post-war] era is cut-glass perfect…Her prose shines, even as it devours.”
—Catherine Taylor, Financial Times
“Powerful, intensely absorbing…There’s more than a hint of Fleabag about the dysfunctional relationship between Viv and her elder sister, and Wyld is as gifted as Phoebe Waller-Bridge at capturing the hilarious, the excruciating and the absurd.”
—Stephanie Cross, Daily Mail
“Ingenious…Bold…With each novel, Wyld gets better and better.”
—Stuart Kelly, The Scotsman
“Wyld’s gossamer-light prose, beautiful even in its depiction of murder, brings nuance and complexity to the story…Wyld’s skilfully woven narrative will keep you turning towards a final, unexpected twist.”
—Lucy Pavia, Evening Standard
“[The] build-up of dread is excellent…Most powerful of all is Wyld’s evocation of a hairs-on-the-neck sense of foreboding when women interact with volatile men.”
—Francesca Carington, Sunday Telegraph
“A spikily beautiful novel…Wyld underpins the whole with a seething anger. That this doesn’t overwhelm the novel is down to some skilful storytelling.”
—Siobhan Murphy, The Times
“Vivid and gripping.”
—John Self, Irish Times
—Emily Rhodes, The Spectator
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