A Lonely Man
“For fans of the brilliant short story collection Mothers, Power’s first full length novel is a tense and addictive literary story steeped in plot and place.
Robert is a blocked writer living in Berlin with his wife and kids. One night he bumps into Patrick in a bookshop—a well regarded ghost writer who fears he’s being followed after being hired by a Russian oligarch just found dead. Robert befriends him and hearing his story believes he might have found the key to unlock his writers block and—without permission—begins writing Patrick’s story.
What follows is a cleverly crafted novel within a novel that questions the layers of reality it sets up. Is Patrick delusional about being followed? Does Robert have permission to tell Patrick’s story? Robert’s retelling of Patrick’s story flows cleverly from Chris Power’s telling of Robert’s story and raises the questions about ego and the ethical lines that can be crossed in the pursuit of art. Reading this book in a lockdown was a perfect (though tense!) escape and a way to ‘travel’ to the tree lined streets, squares and dark Hinterhof of Berlin which provide the perfect backdrop to the shadowy world that Power evokes so well. Highly recommended ✨”
A New Statesman Book of the Year 2021
A Metro Book of the Year 2021
A Washington Post ’10 Best Thriller and Mystery Books of 2021′
‘A taut, subtle, postmodern literary thriller.‘ SUNDAY TIMES
‘A remarkable debut; an accomplished and intricately plotted story.‘-JON McGREGOR
‘A Lonely Man is a delicate snare of a novel.’-BRANDON TAYLOR
‘A thrilling, unnerving novel. a page-turner with exacting syntax and emotional heft.’-CATHERINE LACEY
‘Impressively deft. A Lonely Man is a tense and taut work.’-BENJAMIN MYERS
When two men meet in a bookshop in Berlin they begin an uneasy friendship. Patrick has a sensational story to tell, one that Robert decides to take for himself. A twist on the cat-and-mouse narrative, A Lonely Man is about the search for identity and the elastic nature of truth. As the two men’s association hurtles towards tragedy, Robert is forced to confront whether actual events are the only things that give a story life, and if some stories are too dangerous to tell.
‘Gripping.‘ FINANCIAL TIMES
‘A classy page-turner.‘ MAIL ON SUNDAY
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