Reviews

  • "With each new book by Tessa Hadley, I grow more convinced that she’s one of the greatest stylists alive… her quietly elegant style and muted wit are triumphs… the everyday tragedies and betrayals of domestic life [are] rendered by Hadley’s prose into something extraordinary… The tone of Late in the Day is perhaps Hadley’s most delicate accomplishment."

    Ron Charles, Washington Post
  • "Tessa Hadley is one of your finest writers… [she] approaches her subjects with the sort of attention to detail that a Dutch Golden Age master might bring to a jug and a bowl of fruit… Hadley is the real deal."

    Alex O'Connell, The Times
  • "There may be no historical newness to women’s disenchantment with male authority, but it feels new to write about it with this much raw honesty… It’s to her great credit that Hadley manages to be old-fashioned and modernist and brilliantly postmodern all at once… Unlocking age-old mysteries in ways both revelatory and inevitable. We’ve seen this before, and we’ve never seen this before, and it’s spectacular."

    Rebecca Makkai, New York Times
  • "Like all Hadley’s novels, Late in the Day enthrals. "

    Tatler
  • "Tessa Hadley picks apart the stitches of marriage, friendship and self with an almost forensic curiosity [in Late in the Day], cementing her place as one of Britain's finest writers of contemporary fiction."

    Thea Lenarduzzi, Vogue
  • "Hadley examines profound areas of life – friendship, marriage, parenthood, grief, love – with a delightful precision, hitting different nails on the head over and over again… Her novel is full of these piercing little moments of revelation… [because of] the crispness of Hadley’s narrative, and the wisdom of her observations: you trust her… [Late in the Day has] a touch of genius."

    Craig Brown, Mail on Sunday
  • "A real triumpha very fine novel."

    Radio 4, Saturday Review
  • "[Hadley] is a gifted anatomist of human relationships... Her particular genius lies in the elegance and precision with which she captures the fleeting emotion, the passing, indefinable perception or tiny epiphany."

    Katherine Powers, Wall Street Journal
  • "Hadley’s fiction — both long and short — has, with a delicious, detached clarity, observed the shape of relationships: their unconventionality, their transgressions. She is a superb stylist, with none of the pretensions that have latterly been attached to such a term: dispassionate, yet voluptuous in her prose."

    Catherine Taylor, Financial Times