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“Brilliant…These ten remarkable conversations, told with immense control, focus a sharp eye on how we discuss family and our lives.”
— Publishers Weekly (starred, boxed review)
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“As the profile of her main character grows more defined in relief, so does Cusk’s underlying message about love, loss, and feminine identity in the modern world, evident not only in her story but also in its delivery. Outline is an expertly crafted portrait that asks readers to look deeply into the text for discovery.”
— Booklist (starred review)
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“Cusk returns to fiction and top form in a novel about the stories we tell ourselves and others…Rich in human variety and unsentimental empathy.”
— Kirkus Reviews
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“Rachel Cusk has constructed a restrained, incisive narrative of high stylistic polish and stealthy emotional power. Formally inventive, astringently intellectual, and linguistically assured, Outline poses the question of where stories come from; it shows, with glittering clarity, why they matter.”
— Rebecca March, author of My Life in Middlemarch
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“Outline succeeds powerfully. Among other things, it gets a great variety of human beings down onto the page with both immediacy and depth; an elemental pleasure that makes the book as gripping to read as a thriller…A stellar accomplishment.”
— The Guardian
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“This has to be one of the oddest, most breathtakingly original and unsettling novels I ’ve read in a long time…Every single word is earned, precisely tuned, enthralling. Outline is a triumph of attitude and daring, a masterclass in tone.”
— The Observer (London)
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“Cusk’s uncompromising, often brutal intelligence is at full power. So is her technique…I can’t think of a book that so powerfully resists summary or review…Inevitably, the only way to get close to the fascinating and elusive core of Outline is to read it.”
— Financial Times (London)
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“A uniquely graceful and innovative piece of artistic self-possession, which achieves the rare feat of seamlessly amalgamating form and substance.”
— The Independent (London)
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“Outline. It defies ordinary categorization. It is about authorial invisibility, it involves writing without showing your face. The narrator is a writer who goes to teach creative writing in Greece and becomes enmeshed in other peoples’ narratives, which Cusk stitches, with fastidious brilliance, into a single fabric.”
— The Observer (London)
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“The writing is brilliant…Cusk is always cerebral but I ’ve never noticed her drollery before…Absorbing, thought-provoking.”
— London Evening Standard
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“Like the Higgs boson, which appears only when bombarded by electrons, Rachel Cusk ’s nearly nameless narrator flickers into visibility only through her encounters with a series of amazingly eloquent and fascinating interlocutors. Writing at the highest level and with the greatest technical restraint, Cusk manages to describe the painful realities of women ’s lives by a process of erasure that is itself responsible for that suffering. This is a novel where form and content meld so perfectly as to collapse into each other. I am so much the better for having read it. As if someone finally told me the truth by telling me everything, and nothing.”
— Jeffrey Eugenides, author of The Marriage Plot
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“A subtle and utterly engrossing exploration of the ways we make ourselves known to one another—in stories and anecdotes, through seductions and disputes—and yet remain opaque; how we sketch ourselves as outlines and find these outlines interrogated. The conversations in Outline echo one another deftly, their acute insights gracefully pulling apart the seams of its carefully composed characters to show glimpses of much messier selves within: a series of searing psychic X-rays bleached by coastal light.”
— Leslie Jamison, author of The Empathy Exams
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“I opened this book and read a page, and then a few more pages, and I finished Outline before a day and a half had passed, and I am the slowest reader I know, and I have never felt guilty about not finishing a book. Outline is amazing. It changes the lighting on the charismatic, mad, maddening monologues so beloved in literature; here we are, on the previously invisible other side of it, seeing something brilliant and irremediably true.”
— Rivka Galchen, author of American Innovations