Description
Your Face Tomorrow, Javier Marías’s daring novel in three parts culminates triumphantly in this much-anticipated final volume.
Reviews
"Poison, Shadow and Farewell delivers a payoff at the end, but the real challenge, and pleasure, is in getting there." — Larry Rohter, The New York Times
"This brilliant trilogy must be one of the greatest novels of our age." — Antony Beevor, Sunday Telegraph [London]
"Like the other volumes in the sequence, Poison, Shadow and Farewell is as stealthy as any spy." — Louise Welsh, Financial Times
"This deeply strange creation…may very well be the first authentic literary masterpiece of the 21st century." — James Lasdun, The Guardian [UK]
"Quite unlike anything else today…. One of the finest novels of modern times." — Tim Martin, The Telegraph [UK]
"A literary tour de force ... as much about the past from which we are made as the present we have become." — The Economist
"The conclusion…is to be reminded of the intricacy with which he has fitted his pieces into the larger part." — Colin Torre, Kansas City Free Press
"His most moving and personal work to date." — Megan Doll, The Believer
"The fear and pain that Marías has built up for a thousand pages oozes out like oily fate." — Justin McNeil, Bomblog
"Your Face Tomorrow is already being compared to Proust’s A la recherche du temps perdu, and rightly so." — The Observer
"The overall effect recalls the cerebral play of Borges, the dark humor of Pynchon, and meditative lyricism of Proust.”" — Review of Contemporary Fiction
"By one of the most original writers at work today, Your Face Tomorrow [is] as accomplished and sui generis as all his mature work [and the] most affecting narrative feat in Marías’s work to date." — The New York Times Book Review
"He mediates thriller or noir scenarios through a formidably erudite and elegant and sophisticated consciousness." — Mark Ford, New York Review of Books
"A seriousness of purpose, an eagerness to engage with ... metaphysical questions and to incorporate them into a gripping story." — Tess Lewis, New Criterion