Reviews

  • Showing Osborne at the height of his powers, The Glass Kingdom upends the Western reader's most basic assumptions about the human world . . . stylish and disquieting

    John Gray, New Statesman
  • Bangkok is the star of this accomplished novel. Its denizens are aliens to themselves, glittering on the horizon of their own lives, moving - restless and rootless and afraid - though a cityscape that has more stories than they know

    Hilary Mantel
  • The author's exceptional descriptive skills fuel an overwhelming sense of menace . . . the next day you will still be thinking of Sarah's fate with horror

    Louise Doughty, New York Times
  • Lawrence Osborne goes from strength to strength. In The Glass Kingdom he once again displays a feel for the Westerner abroad in an alien culture, where misunderstandings can prove deadly. The author has lived for years in Bangkok, whose seediness runs deeper than the superficially icky red light district most foreign writers take on. Great characters, plenty of suspense, and a killer ending

    Lionel Shriver, Evening Standard, Books of the Year
  • An atmospheric, gripping novel . . . a horror-satire of globalised capital in which money might buy you idle time or the semblance of power, but it also makes you a target. The Kingdom's residents are blind to its fragility until it is almost too late: as apt a metaphor for 2020 as a novel could hope to provide

    Ed Cumming, i
  • Bewitching

    Geoffrey Wheatcroft, Daily Mail
  • Osborne, who specialises in stories about hapless Westerners coming a cropper in foreign lands, has another hit on his hands with this sinister, sensuous and wonderfully evocative tale

    Katie Law, Evening Standard
  • Oozing menace, Osborne's compelling novel is wonderfully atmospheric and deeply macabre

    Anthony Gardner, Mail on Sunday
  • Lawrence Osborne did not disappoint in his atmospheric thriller The Glass Kingdom

    Lionel Shriver, Observer, *Books of the Year*
  • [Osborne] masterfully depicts...a Bangkok where an irrational yet intoxicating mix of Buddhism and animism holds sway alongside laissez-faire economics...eroding his characters' sense of autonomy through attrition

    Max Crosbie-Jones, ArtReview

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