You Should Have Left
A Novel
Échec de l'ajout au panier.
Veuillez réessayer plus tard
Échec de l'ajout à la liste d'envies.
Veuillez réessayer plus tard
Échec de la suppression de la liste d’envies.
Veuillez réessayer plus tard
Échec du suivi du balado
Ne plus suivre le balado a échoué
0,00 $ pour vos 30 premiers jours
OFFRE D'UNE DURÉE LIMITÉE
0,99 $/mois pendant vos 3 premiers mois
L'offre prend fin le 16 décembre 2025 à 23 h 59, HP.
Exclusivité Prime: 2 titres
gratuits à choisir pendant l'essa. Des conditions s’appliquent.
Vos 3 premiers mois d'Audible à seulement 0,99 $/mois
1 nouveauté ou titre populaire à choisir chaque mois – ce titre vous appartiendra.
L'écoute illimitée des milliers de livres audio, de balados et de titres originaux inclus.
L'abonnement se renouvelle automatiquement au tarif de 0,99 $/mois pendant 3 mois, et au tarif de 14,95 $/mois ensuite. Annulation possible à tout moment.
Choisissez 1 livre audio par mois dans notre incomparable catalogue.
Écoutez à volonté des milliers de livres audio, de livres originaux et de balados.
L'abonnement Premium Plus se renouvelle automatiquement au tarif de 14,95 $/mois + taxes applicables après 30 jours. Annulation possible à tout moment.
You Should Have Left
Narrateur(s):
Robertson Dean
Acheter pour 11,66 $
-
Narrateur(s):
-
Robertson Dean
-
Auteur(s):
-
Daniel Kehlmann
-
Ross Benjamin - translator
À propos de cet audio
"It is fitting that I'm beginning a new notebook up here. New surroundings and new ideas, a new beginning. Fresh air."
This passage is from the first entry of a journal kept by the narrator of Daniel Kehlmann's spellbinding new novel. It is the record of the seven days that he, his wife, and his four-year-old daughter spend in a house they have rented in the mountains of Germany—a house that thwarts the expectations of the narrator's recollection and seems to defy the very laws of physics. He is eager to finish a screenplay for a sequel to the movie that launched his career, but something he cannot explain is undermining his convictions and confidence, a process he is recording in this account of the uncanny events that unfold as he tries to understand what, exactly, is happening around him—and within him.
Ce que les critiques en disent
“This mind-bending novella about a writer losing his marbles contains images that startle and linger....The most arresting of the book’s chilling moments might do for baby monitors what ‘Jaws’ did for swimming in the ocean....[Kehlmann] manages a few darkly comic flourishes...provocative...potent...pleasantly unsettling.”
—John Williams, The New York Times
“A quick, fun breathless read. It’s inventive and scary—and a delightful take on the writing life.”
—Huffington Post
“A beautifully crafted exercise in terror from one of Germany’s most celebrated contemporary authors….This novel is, in many ways, a classic haunted-house tale. There are warnings about the house from the people in the village below. There’s a creeping sense of horror. There are frightening phenomena that the narrator cannot explain. And there are specters. Kehlmann uses all these familiar tropes beautifully. But he also creates a sense of existential dread that transcends the typical ghost story….A book to keep you up at night.”
—Kirkus Reviews, *starred review*
“A well-crafted tale about one man unravelling due to forces beyond his control….You Should Have Left—part-horror, part-psychodrama—serves up effective shocks and thrills that keep us rapt and on the edge of our seats. The narrator’s journal slides from excerpts from his screenplay to accounts of his own creeped-out tragedy, and slips from coherence to jumbled trains of thought, and each time we lose purchase yet delight in the confusion and the tension.”
—Malcolm Forbes, The National
“My favorite German novelist.″
—Ian McEwan, The Sunday Times (London)
—John Williams, The New York Times
“A quick, fun breathless read. It’s inventive and scary—and a delightful take on the writing life.”
—Huffington Post
“A beautifully crafted exercise in terror from one of Germany’s most celebrated contemporary authors….This novel is, in many ways, a classic haunted-house tale. There are warnings about the house from the people in the village below. There’s a creeping sense of horror. There are frightening phenomena that the narrator cannot explain. And there are specters. Kehlmann uses all these familiar tropes beautifully. But he also creates a sense of existential dread that transcends the typical ghost story….A book to keep you up at night.”
—Kirkus Reviews, *starred review*
“A well-crafted tale about one man unravelling due to forces beyond his control….You Should Have Left—part-horror, part-psychodrama—serves up effective shocks and thrills that keep us rapt and on the edge of our seats. The narrator’s journal slides from excerpts from his screenplay to accounts of his own creeped-out tragedy, and slips from coherence to jumbled trains of thought, and each time we lose purchase yet delight in the confusion and the tension.”
—Malcolm Forbes, The National
“My favorite German novelist.″
—Ian McEwan, The Sunday Times (London)
It's quite challenging early in the book to recognize the shift between the narrator's thoughts and his narration of the book he's writing, and I suspect that in the paper copy, the differences are shown with a different font or a line break. In any case, with no verbal cue to help the listener, I found myself distracted from the story itself as I had to evaluate what I was listening to.
The story itself is entertaining and the issue becomes less of an issue as the story progresses, but it definitely detracted from the experience.
A good story but a below average audiobook
Un problème est survenu. Veuillez réessayer dans quelques minutes.