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"The perfect binge listen." -- Yahoo Lifestyle
Instant #1 New York Times bestseller.
This program includes a bonus interview with the author.
The Silent Patient is a shocking psychological thriller of a woman's act of violence against her husband--and of the therapist obsessed with uncovering her motive.
Alicia Berenson's life is seemingly perfect. A famous painter married to an in-demand fashion photographer, she lives in a grand house with big windows overlooking a park in one of London's most desirable areas. One evening her husband Gabriel returns home late from a fashion shoot, and Alicia shoots him five times in the face, and then never speaks another word.
Alicia's refusal to talk, or give any kind of explanation, turns a domestic tragedy into something far grander, a mystery that captures the public imagination and casts Alicia into notoriety. The price of her art skyrockets, and she, the silent patient, is hidden away from the tabloids and spotlight at the Grove, a secure forensic unit in North London.
Theo Faber is a criminal psychotherapist who has waited a long time for the opportunity to work with Alicia. His determination to get her to talk and unravel the mystery of why she shot her husband takes him down a twisting path into his own motivations--a search for the truth that threatens to consume him....
More praise for The Silent Patient:
"Absolutely brilliant... I read it in a state of intense, breathless excitement." -- Stephen Fry
"Smart, sophisticated storytelling freighted with real suspense - a very fine novel by any standard." -- Lee Child
" The Silent Patient sneaks up on you like a slash of intimidating shadow on a badly lit street. Michaelides has crafted a totally original, spellbinding psychological mystery so quirky, so unique that it should have its own genre." -- David Baldacci
Critiques (6)
Critique du Publishers Weekly
Psychotherapist Theo Faber, the emotionally fragile narrator of Michaelides's superb first novel, finagles his way to a job at the Grove, a "secure forensic unit" in North London, where artist Alicia Berenson has been housed for six years since she was convicted of murdering her prominent fashion photographer husband, Gabriel. The evidence against Alicia was clear-Gabriel was tied to a chair and shot several times in the face with a gun that had only her fingerprints. Since the day of her arrest, Alicia has never said a word. Before the murder, Alicia painted a provocative self-portrait entitled Alcestis, based on a Greek myth that seemed to echo her life. Her current therapists reluctantly agree to let Theo treat the heavily drugged Alicia to get her to speak. The boundary between doctor and patient blurs as Theo, who admits he became a therapist "because I was fucked-up," seeks to cure his own emotional problems in the course of treating Alicia. This edgy, intricately plotted psychological thriller establishes Michaelides as a major player in the field. 200,000-copy announced first printing. Agent: Sam Copeland, Rogers, Coleridge & White (U.K.). (Feb.) © Copyright PWxyz, LLC. All rights reserved.
Critique du Guardian
A closed-world murder mystery wrapped inside a post-apocalyptic thriller, The Last by Hanna Jameson (Viking, £12.99) is set in a remote Swiss hotel. American historian Jon Keller, there for a conference, reads about the end of the world on the internet. Nuclear attacks take out major cities and destroy communications until the 20 people remaining at L'Hôtel Sixieme believe they may be the only survivors. They face food shortages, possible radiation sickness and despair, plus the body of a girl, apparently killed before the catastrophe, which has been found in a water tank. Jon, who takes it upon himself to provide a record of events, is determined to find the killer. Although it's a fascinating exploration of a world in which "consequences no longer existed", The Last is rather less successful as a crime narrative, due to a hasty and not entirely coherent ending. To Kill the Truth by Sam Bourne (Quercus, £12.99) deals with a more specific apocalypse: the demolition of history, with libraries burned and digital records destroyed in computerised attacks. The premise, if far-fetched, is both intriguing and, in the current climate of post-truth, fake news and sour populism, grimly topical. Former White House troubleshooter Maggie Costello gets caught up in the race to stop the destruction when she is tasked with looking into the death of a professor who specialises in the history of slavery. A propulsive plot and an appealing heroine - series character Maggie is game, smart and, it must be said, miraculously non-flammable - make up for sometimes clumsy writing. Jane Harper 's third novel, The Lost Man (Little Brown, £12.99), is another splendid slice of outback noir. The setting is an isolated Queensland cattle station, where the Bright family are responsible for a vast acreage of parched and dusty land on the edge of the desert. When Cameron Bright is found dead from dehydration beside a local landmark, 9km from where his well-stocked Land Cruiser is parked, everyone is baffled. The assumption is suicide, but older brother Nathan - ostracised by the sparse local population for reasons that become clear as Harper spools out his backstory - isn't convinced. After an uncomfortable return to the family home, he discovers that the rest of his family have secrets to hide ... Fabulously atmospheric, the book starts slowly and gradually picks up pace towards a jaw-dropping denouement. Geography and weather in the shape of snow and mountains impede the investigation in Ilaria Tuti's Italian bestseller Flowers Over the Inferno (translated by Ekin Oklap, W&N, £14.99). The first in a trilogy featuring Detective Superintendent Teresa Battaglia, it's set in a quiet village in the Italian Alps, where a naked man, found with his eyes gouged out, is the first in a string of gruesome murders and assaults. Flashbacks to an experiment conducted at an Austrian orphanage in the 1970s make it clear that the roots of the mystery lie in the past. Teresa, with her background in criminal profiling, must join the dots. It's creepy and evocative enough - albeit with a tendency to melodrama - but what gives this novel particular appeal is the sixtysomething central character, whose abrasive manner hides a warm heart. The survivor of an abusive relationship, she finds herself battling against the encroachments of old age as well as fighting her corner in a male-dominated profession. The much-trumpeted debut novel from screenwriter Alex Michaelides, The Silent Patient (Orion, £12.99), is the story of convicted killer Alicia Berenson, an artist who apparently tied her husband to a chair and shot him repeatedly in the face, before retreating into silence. Psychotherapist Theo Faber applies for a job at the institution where she is held in the hope of making her speak, and the narrative alternates between his account of the proceedings and Alicia's diary, as doctor/patient boundaries begin to blur. It's fairly obvious from the off that there's more to Faber's motivation than mere fascination with a notorious case, but the eventual sleight of hand is deft; however, the level of contrivance may leave readers feeling that the novel fails to live up to the hype. Novelist and biographer John Williams has returned, under the pseudonym John Lincoln, to his favourite fictional stomping ground, Cardiff. Fade to Grey (No Exit, £12.99) is the first in a projected series featuring Gethin Grey of miscarriage-of-justice-investigators Last Resort Legals. Having read the bestselling memoir by convicted murderer Ismail Mohammed, AKA Izma M, former film star Amelia Laverne becomes convinced that he is innocent and is prepared to pay Gethin handsomely to prove it. However, Izma seems less than happy to cooperate. A strong cast - particularly Gethin, who is freighted with the requisite personal baggage - coupled with slick writing and plenty of action gets what promises to be an excellent series off to a flying start.
Critique de Kirkus
A woman accused of shooting her husband six times in the face refuses to speak."Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artistsAlicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's justI'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.Amateurish, with a twist savvy readers will see coming from a mile away. Copyright Kirkus Reviews, used with permission.
Critique de Booklist
Alicia Berenson is a famous painter, living a life that many envy with her handsome fashion-photographer husband, Gabriel. With a gorgeous house, complete with a painting studio, and that perfect marriage, Alicia couldn't be happier. Until one day Gabriel comes home late from work, and Alicia shoots him in the face. In the brutal aftermath that leads to an indefinite stay in a psychiatric hospital, Alicia mutely accepts her punishment. Forensic psychotherapist Theo Faber is put in charge of her therapy; however, since the night of the shooting, she hasn't spoken a word. With a nod to Greek mythology, art, and love, debut novelist Michaelides effectively blurs the lines between psychosis and sanity. Multiple story lines are told with a writing style that combines past diary entries with present-day prose, becoming more tangled as they weave together, keeping readers on edge, guessing and second-guessing. The Silent Patient is unputdownable, emotionally chilling, and intense, with a twist that will make even the most seasoned suspense reader break out in a cold sweat.--Erin Holt Copyright 2018 Booklist
Critique du New York Review of Books
The essential component of their formula is a worthy villain, someone just like the sieko here, who shoots videos of unsuspecting women to study at his leisure ("He takes his time, enjoys himself"). Once he's whipped himself up into a froth, this merciless madman returns to claim his prey with another horrific murder. The sadistic twist here is that he sends the videos of his future victims to the National Crime headquarters in Stockholm, daring the police to outwit him before he kills again. Margot Silverman, a police expert on serial killers, spree killers and stalkers, is properly worked up by these taunts, which also prods into action Joona Linna, a living legend in crime circles and the heavyweight of the Kepler series. The third member of the team is Erik Maria Bark, a specialist in disaster trauma and an authority in clinical hypnotherapy, who treats us to an impressive example of his skills ("The only thing you're listening to is my voice ... "). This is not a book for anyone on heart medication. Kepler is a virtuoso at delivering scenes of suspense, proving it here with an unnerving sequence in which a woman senses the silent killer who is stalking her. He also loves to drop severed body parts into a story, even when it isn't strictly necessary to advance the plot. But that's the deal with Kepler: If you want the thrills, you've got to expect the chills. PETER ROBINSON writes the kind of mysteries they don't write anymore: smart, civilized whodunits that are intellectually challenging, emotionally engaging and always discreet. Can you imagine a cop who concludes a suspect interview by saying: "Sorry to have bothered you at dinnertime. And I apologize if some of our questions caused you discomfort." That gentlemanly policeman is Alan Banks, a Yorkshire homicide detective who appears in CARELESS LOVE (Morrow/HarperCollins, $26.99), his 25th outing in the series dedicated to his sleuthing. No one expects cops to be au courant with the latest fashions. Nonetheless, Banks knows that a young woman found dead at the scene of an auto accident would not get all dolled up and neglect to take her handbag, and that a man who supposedly fell to his death in a ravine would not have gone for a stroll on Tetchley Moor wearing an expensive suit. The double-sided puzzle, which strikes Banks as "a three-pipe problem," involves, among other things, a sex-trafficking racket. But we also appreciate the well-drawn women, the keen character analysis and, of course, the company of a true gentleman. Wearing red to a wedding reception might seem rude, but wearing red while dead seems downright uncouth. The bride certainly doesn't take it very well when a dead woman in a red dress spoils her big day in THE WEDDING GUEST (Ballantine, $28.99), Jonathan Kellerman's latest mystery featuring Alex Delaware. A child psychologist who is often consulted by the Los Angeles Police Department, Delaware has no children to tend to here, but he does find a lot of childish grownups at the Aura, the former strip joint Brearley and Garrett Burdette whimsically chose for their "Saints and Sinners"-themed party. Although the corpse is admired for her fashion sense - "The dress is Fendi, the shoes are Manolo, and the hair is awesome" - no one seems to know who she is. This means Delaware has a suspect pool of about 100 people, from the mother of the bride ("Botoxed as smooth as a freshly laundered bedsheet") to the busboys. One-on-one interviews are Kellerman's strong suit, so expect some shrewd instant analyses and unwittingly funny observations - like "Destroying a wedding has a personal feeling." "No crazy thoughts allowed," promises the diarist who narrates THE SILENT PATIENT (Celadon, $26.99), a predictable if disturbing first novel by Alex Michaelides. Don't fall for that one; there are plenty of crazy thoughts - and crazier events - in this psychological thriller. The two main characters, both inclined to craziness, are extremely well matched. Alicia Berenson appeared to be a happily married woman when she tied her husband to a chair and shot him five times in the face. Why she did it remains a mystery, because she never spoke again. Theo Faber, her psychotherapist at the institution where she is locked up, seems normal enough at first. And it's obvious that he's giving it his all. But Alicia is a tough nut to crack - "I know all this sounds crazy," she admits in her diary - and therapy increasingly becomes a battle between crazy and crazier. Marilyn STASIO has covered crime fiction for the Book Review since 1988. Her column appears twice a month.
Critique du Library Journal
Michaelides's debut is a captivating study of the characters linked to Alicia Berenson, a famous painter who inexplicably shot the husband she loved and then chose never to utter a single word again-not even to defend herself as she was tried and then institutionalized in a secure psychiatric facility in London. Theo Faber, a psychotherapist determined to help Alicia, tells the story of how he tried to unlock her secrets and get her talking again. Sandwiched between his storytelling, Michaelides scatters entries from Alicia's diary of the days leading to that ill-fated night to help build suspense and intrigue. Some aspects of the story seemed predictable, but the emotional twists and amazing turns will carry readers through the most contrived plot points. The narration by Jack Hawkins and Louise Brealey is like a two-person theatrical performance. Hawkins artfully uses different voices to portray each character, capturing the emotion and complexity of each individual. Brealey's reading of the diary stirs empathy and a deep understanding of Alicia's tragic character. Verdict The book is receiving much-deserved buzz, but the audio production and exceptional narration make the characters feel real. ["Dark, edgy, and compulsively readable": LJ 11/1/18 review of the Celadon hc.]-Gladys Alcedo, -Wallingford, CT © Copyright 2019. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
