'An absolute page-turner' Mail on SundayDear Mr. M,I'd like to start by telling you that I'm doing better now. I do so because you probably have no idea that I was ever doing worse. Much worse, in fact, but I'll get to that later on.Mr. M is being watched. As a famous writer, he is no stranger to the limelight, although interest in his work has been dwindling of late. His print runs are smaller than they used to be, as are the crowds at his bookshop signings . . . Our narrator clearly takes a keen interest in M.'s work, and indeed in every aspect of his life. But what exactly are his intentions? And to what does Mr. M owe the honour of his undivided attention?Our narrator seems to be no stranger to murder, while his own story appears to bear more than a passing resemblance to the plot of Mr. M's most famous novel: a teacher has an affair with a student, only to be brutally murdered by the girl and her teenage boyfriend. The body is never found.That's the problem with fiction: in real life, bodies have an awkward habit of turning up. Mr. M has used some artistic licence, and our narrator is not pleased, not pleased at all. And just before he fades into obscurity, he's prepared to give Mr. M one last review. And it's unlikely to be a rave.Dear Mr. M is an unsettling and irresistibly readable literary thriller, set in the world of writing and bookselling, by Herman Koch, the author of the international bestseller, The Dinner.
 
 
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#1 NEW YORK TIMES BESTSELLER and a NEW YORK TIMES BOOK OF THE YEAR NATIONAL BOOK AWARD WINNER FOR FICTION 2016 'Whitehead is on a roll: the reviews have been sublime' Guardian 'Luminous, furious, wildly inventive' Observer 'Hands down one of the best, if not the best, book I've read this year' Stylist 'Dazzling' New York Review of Books Cora is a slave on a cotton plantation in Georgia. All the slaves lead a hellish existence, but Cora has it worse than most; she is an outcast even among her fellow Africans and she is approaching womanhood, where it is clear even greater pain awaits. When Caesar, a slave recently arrived from Virginia, tells her about the Underground Railroad, they take the perilous decision to escape to the North. In Whitehead's razor-sharp imagining of the antebellum South, the Underground Railroad has assumed a physical form: a dilapidated box car pulled along subterranean tracks by a steam locomotive, picking up fugitives wherever it can. Cora and Caesar's first stop is South Carolina, in a city that initially seems like a haven. But its placid surface masks an infernal scheme designed for its unknowing black inhabitants.
And even worse: Ridgeway, the relentless slave catcher sent to find Cora, is close on their heels. Forced to flee again, Cora embarks on a harrowing flight, state by state, seeking true freedom. At each stop on her journey, Cora encounters a different world. As Whitehead brilliantly recreates the unique terrors for black people in the pre-Civil War era, his narrative seamlessly weaves the saga of America, from the brutal importation of Africans to the unfulfilled promises of the present day. The Underground Railroad is at once the story of one woman's ferocious will to escape the horrors of bondage and a shatteringly powerful meditation on history.