<p>‘The Holocaust novel can sometimes feel like an exhausted genre, but as the far Right rises once again in Austria, this glittering novel beautifully refreshes it.’</p>

- Claire Allfree, Daily Mail

<p>‘A deft thriller offering an unsettling look at brutal legacies.’</p>

- Eithne Farry, Mail on Sunday

<p>‘Menasse (<em>Vienna</em>) delivers an immersive, gloom-ridden tale of an Austrian town’s secrets and tensions in the months before the fall of the Berlin Wall … This unsettling novel offers a singular sense of place.’</p>

Publishers Weekly

<p>‘In Eva Menasse’s historical novel <em>Darkenbloom</em>, the wartime secrets of a small Austrian town are compromised by the urgent demands of the present … disturbing events are tempered by rich, omniscient knowledge of the characters, whose quirky humour and humanity amid an impeccable backdrop of clandestine forests and “undulating, dappled” mountain views captivate. Heralding the expansive disruptions of social change, the intricate novel <em>Darkenbloom</em> muses through an Austrian town’s troubled past.’</p>

- <em>Foreword Reviews</em>, starred review,

<p>‘Journalism is quick, but literary art takes time. I have often wondered where it is, the great epic of complicity. Now it’s finally here. Darkenbloom is a nice idyllic small town, but we gradually find out what each of its inhabitants did back then and what they subsequently deleted from their memories. <em>Darkenbloom</em> is truly one of the great European novels of our time, one that sets standards for how fiction can treat history.’</p>

- Daniel Kehlmann, author of <em>Tyll</em>,

<p>‘Eva Menasse has produced a masterpiece … While none of these motifs that Eva Menasse invokes are new, it feels like you’re experiencing them here for the first time in Technicolor and Dolby Stereo. How does she do this? Entirely through language. And that is why <i>Darkenbloom</i> is a novel that will last … As a novel, <i>Darkenbloom</i> is both a gripping linguistic thrill and a thriller — a thriller about coming to terms with the past. Until the very end, you want to know who knew what, and what they covered up or hushed up. The way Eva Menasse spreads this information throughout the novel in such a way that every word dropped at the beginning is resolved at the end and the suspense grows page after page is absolutely masterful … Eva Menasse’s novel is a stroke of genius.’</p>

DIE ZEIT

<p>‘<i>Darkenbloom</i> stirs up, saddens, pulls you along — especially through its characters and is undoubtedly one of the most important books of this fall. Great.’</p>

NDR

<p>‘Not a reunification novel, nor a key novel: Eva Menasse’s new novel <i>Darkenbloom</i> is something better. In a bitterly comic way, it turns a historical event into the background of a small-town portrait in 1989 … But where is <i>Darkenbloom’s</i> third master builder, besides God and the Devil, the novel’s author? She’s there just two sentences later in all her sarcasm: “You wish God could only see into the houses and not the hearts.” Only literature should dare to look into dark souls. Literature like this.”’</p>

FAZ

<p>‘Eva Menasse has succeeded in writing an unobtrusively dense novel that lets the silence roar. One cannot escape it.’</p>

Kurier

<p>‘She found the motto of the third part of this exciting, eventful, and always different book that goes up against a great thundering silence and repression in Robert Musil: “Historical is that which one would not do oneself.” Literature can speak of more than simple truths. In this beautiful case, it makes clear how opposites clash even in the most intimate community. It may be that the great world theatre takes place elsewhere. The swamp of mysteries, one learns in this great and never long-winded book, “has always exceeded those of solved cases many times over.”’</p>

- Mannheimer Morgen,

<p>‘Camouflage and exposure, mystery and malice, memory and life lies, historical lies, the colportage of lies of an entire country … all this is presented lightly and in an anxiety-inducing satirical manner, which on the one hand brings the characters close to the audience and on the other exposes those who allow themselves to be seduced by them. An ambitious, ravishingly mocking narrative project, impressively mastered by Eva Menasse.’</p>

- Literaturhaus Wien,

<p>‘[Eva Menasse] succeeds in packing the horror into a beautiful, almost warm-hearted language — without, of course, trivialising it. Her laconic language is sometimes reminiscent of that of Wolf Haas, her characters, especially the red-nosed drunkards, are drawn with such precision as if they had sprung from a cartoon by the Lower Austrian Manfred Deix. <em>Darkenbloom</em> is an eerie as well as funny novel about dealing with the past. Where some people struggle with it and where the wounds do not heal, others drink their past away until the memory of it fades.’</p>

Badische Zeitung

<p>‘With <i>Darkenbloom</i>, author Eva Menasse presents an eloquent anti-homeland novel, very much in the tradition of other works by Austrian authors who throw coarse-grained salt into those same open wounds and watch with great pleasure as everything ferments and pops and bursts … Menasse dishes it out hard. But she does so in a quiet, often witty tone that exposes the inner life and the power struggle of these turncoat villagers of <i>Darkenbloom</i> all the more perfidiously. One of the great strengths of the novel lies in the very fine ramifications, the ends of the bloodlines that have permeated the fictional <i>Darkenbloom</i> for a hundred years.’</p>

NZZ

<p>‘Eva Menasse has created a worthy literary monument to Austria’s politics of the past.’</p>

Falter

<p>‘Utterly gripping and unforgettable days later.’</p>

- Jennifer Lipman, The Jewish Chronicle