Articles liés à The Ruins: A Novel
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Book by Smith Scott
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
Extrait :
They met Mathias on a day trip to Cozumel. They'd hired a guide to take them snorkeling over a local wreck, but the buoy marking its location had broken off in a storm, and the guide was having difficulty finding it. So they were just swimming about, looking at nothing in particular. Then Mathias rose toward them from the depths, like a merman, a scuba tank on his back. He smiled when they told him their situation, and led them to the wreck. He was German, dark from the sun, and very tall, with a blond crew cut and pale blue eyes. He had a tattoo of an eagle on his right forearm, black with red wings. He let them take turns borrowing his tank so they could drop down thirty feet and see the wreck up close. He was friendly in a quiet way, and his English was only slightly accented, and when they pulled themselves into their guide's boat to head back to shore, he climbed in, too.
They met the Greeks two nights later, back in Cancun, on the beach near their hotel. Stacy got drunk and made out with one of them. Nothing happened beyond that, but the Greeks always seemed to be turning up afterward, no matter where they went or what they were doing. None of them spoke Greek, of course, and the Greeks didn't speak English, so it was mostly smiling and nodding and the occasional sharing of food or drinks. There were three Greeks—in their early twenties, like Mathias and the rest of them—and they seemed friendly enough, even if they did appear to be following them about.
The Greeks not only didn't know English; they couldn't speak Spanish, either. They'd adopted Spanish names, though, which they seemed to find very amusing. Pablo and Juan and Don Quixote was how they introduced themselves, saying the names in their odd accents and gesturing at their chests. Don Quixote was the one Stacy made out with. All three looked enough alike, however—wide-shouldered and slightly padded, with their dark hair grown long and tied back in ponytails—that even Stacy had a hard time keeping track of who was who. It also seemed possible that they were trading the names around, that this was part of the joke, so the one who answered to Pablo on Tuesday would smilingly insist on Wednesday that he was Juan.
They were visiting Mexico for three weeks. It was August, a foolish time to travel to the Yucatán. The weather was too hot, too humid. There were sudden rainstorms nearly every afternoon, downpours that could flood a street in a matter of seconds. And with darkness, the mosquitoes arrived, vast humming clouds of them. In the beginning, Amy complained about all these things, wishing they'd gone to San Francisco, which had been her idea. But then Jeff lost his temper, telling her she was ruining it for everyone else, and she stopped talking about California—the bright, brisk days, the trolley cars, the fog rolling in at dusk. It wasn't really that bad anyway. It was cheap and uncrowded, and she decided to make the best of it.
There were four of them in all: Amy and Stacy and Jeff and Eric. Amy and Stacy were best friends. They'd cut their hair boyishly short for the trip, and they wore matching Panama hats, posing for photos arm in arm. They looked like sisters—Amy the fair one, Stacy the dark—both of them tiny, barely five feet tall, birdlike in their thinness. They were sisterly in their behavior, too, full of whispered secrets, wordless intimacies, knowing looks.
Jeff was Amy's boyfriend; Eric was Stacy's. The boys were friendly with each other, but not exactly friends. It had been Jeff's idea to travel to Mexico, a last fling before he and Amy started medical school in the fall. He'd found a good deal on the Internet: cheap, impossible to pass up. It would be three lazy weeks on the beach, lying in the sun, doing nothing. He'd convinced Amy to come with him, then Amy had convinced Stacy, and Stacy had convinced Eric.
Mathias told them that he'd come to Mexico with his younger brother, Henrich, but Henrich had gone missing. It was a confusing story, and none of them understood all the details. Whenever they asked him about it, Mathias became vague and upset. He slipped into German and waved his hands, and his eyes grew cloudy with the threat of tears. After awhile, they didn't ask anymore; it felt impolite to press. Eric believed that drugs were somehow involved, that Mathias's brother was on the run from the authorities, but whether these authorities were German, American, or Mexican, he couldn't say for certain. There'd been a fight, though; they all agreed upon this. Mathias had argued with his brother, perhaps even struck him, and then Henrich had disappeared. Mathias was worried, of course. He was waiting for him to return so that they could fly back to Germany. Sometimes he seemed confident that Henrich would eventually reappear and that all would be fine in the end, but other times he didn't. Mathias was reserved by nature, a listener rather than a talker, and prone in his present situation to sudden bouts of gloom. The four of them worked hard to cheer him up. Eric told funny stories. Stacy did her imitations. Jeff pointed out interesting sights. And Amy took countless photographs, ordering everyone to smile.
In the day, they sunned on the beach, sweating beside one another on their brightly colored towels. They swam and snorkeled; they got burned and began to peel. They rode horses, paddled around in kayaks, played miniature golf. One afternoon, Eric convinced them all to rent a sailboat, but it turned out he wasn't as adept at sailing as he'd claimed, and they had to be towed back to the dock. It was embarrassing, and expensive. At night, they ate seafood and drank too much beer.
Eric didn't know about Stacy and the Greek. He'd gone to sleep after dinner, leaving the other three to wander the beach with Mathias. There'd been a bonfire burning behind one of the neighboring hotels, a band playing in a gazebo. That was where they met the Greeks. The Greeks were drinking tequila and clapping in rhythm with the music. They offered to share the bottle. Stacy sat next to Don Quixote, and there was much talking, in their mutually exclusive languages, and much laughter, and the bottle passed back and forth, everyone wincing at the burning taste of the liquor, and then Amy turned and found Stacy embracing the Greek. It didn't last very long. Five minutes of kissing, a shy touch of her left breast, and the band was finished for the night. Don Quixote wanted her to go back to his room, but she smiled and shook her head, and it was over as easily as that.
In the morning, the Greeks laid out their towels alongside Mathias and the four of them on the beach, and in the afternoon they all went jet skiing together. You wouldn't have known about the kissing if you hadn't seen it; the Greeks were very gentlemanly, very respectful. Eric seemed to like them, too. He was trying to get them to teach him dirty words in Greek. He was frustrated, though, because it was hard to tell if the words they were teaching him were the ones he wanted to learn.
It turned out that Henrich had left a note. Mathias showed it to Amy and Jeff early one morning, during the second week of their vacation. It was handwritten, in German, with a shakily drawn map at the bottom. They couldn't read the note, of course; Mathias had to translate it for them. There wasn't anything about drugs or the police—that was just Eric being Eric, jumping to conclusions, the more dramatic the better. Henrich had met a girl on the beach. She'd flown in that morning, was on her way to the interior, where she'd been hired to work on an archaeological dig. It was at an old mining camp, maybe a silver mine, maybe emeralds—Mathias wasn't certain. Henrich and the girl had spent the day together. He'd bought her lunch and they'd gone swimming. Then he took her back to his room, where they showered and had sex. Afterward, she left on a bus. In the restaurant, over lunch, she'd drawn a map for him on a napkin, showing him where the dig was. She told him he should come, too, that they'd be glad for his help. Once she left, Henrich couldn't stop talking about her. He didn't eat dinner and he couldn't fall asleep. In the middle of the night, he sat up in bed and announced to Mathias that he was going to join the dig.
Mathias called him a fool. He'd only just met this girl, they were in the midst of their vacation, and he didn't know the first thing about archaeology. Henrich assured him that it was really none of his business. He wasn't asking for Mathias's permission; he was merely informing him of his decision. He climbed out of bed and started to pack. They called each other names, and Henrich threw an electric razor at Mathias, hitting him on the shoulder. Mathias rushed him, knocking him over. They rolled around on the hotel room floor, grappling, grunting obscenities, until Mathias accidentally head-butted Henrich in the mouth, cutting his lip. Henrich made much of this, rushing to the bathroom so that he could spit blood into the sink. Mathias pulled on some clothes and went out to get him ice, but then ended up going downstairs to the all-night bar by the pool. It was three in the morning. Mathias felt he needed to calm down. He drank two beers, one quickly, the other slowly. When he got back to their room, the note was sitting on his pillow. And Henrich was gone.
The note was three-quarters of a page long, though it seemed shorter when Mathias read it out loud in English. It occurred to Amy that Mathias might be skipping some of the passages, preferring to keep them private, but it didn't matter—she and Jeff got the gist of it. Henrich said that Mathias often seemed to mistake being a brother with being a parent. He forgave him for this, yet he still couldn't accept it. Mathias might call him a fool, but he be...
Revue de presse :
They met the Greeks two nights later, back in Cancun, on the beach near their hotel. Stacy got drunk and made out with one of them. Nothing happened beyond that, but the Greeks always seemed to be turning up afterward, no matter where they went or what they were doing. None of them spoke Greek, of course, and the Greeks didn't speak English, so it was mostly smiling and nodding and the occasional sharing of food or drinks. There were three Greeks—in their early twenties, like Mathias and the rest of them—and they seemed friendly enough, even if they did appear to be following them about.
The Greeks not only didn't know English; they couldn't speak Spanish, either. They'd adopted Spanish names, though, which they seemed to find very amusing. Pablo and Juan and Don Quixote was how they introduced themselves, saying the names in their odd accents and gesturing at their chests. Don Quixote was the one Stacy made out with. All three looked enough alike, however—wide-shouldered and slightly padded, with their dark hair grown long and tied back in ponytails—that even Stacy had a hard time keeping track of who was who. It also seemed possible that they were trading the names around, that this was part of the joke, so the one who answered to Pablo on Tuesday would smilingly insist on Wednesday that he was Juan.
They were visiting Mexico for three weeks. It was August, a foolish time to travel to the Yucatán. The weather was too hot, too humid. There were sudden rainstorms nearly every afternoon, downpours that could flood a street in a matter of seconds. And with darkness, the mosquitoes arrived, vast humming clouds of them. In the beginning, Amy complained about all these things, wishing they'd gone to San Francisco, which had been her idea. But then Jeff lost his temper, telling her she was ruining it for everyone else, and she stopped talking about California—the bright, brisk days, the trolley cars, the fog rolling in at dusk. It wasn't really that bad anyway. It was cheap and uncrowded, and she decided to make the best of it.
There were four of them in all: Amy and Stacy and Jeff and Eric. Amy and Stacy were best friends. They'd cut their hair boyishly short for the trip, and they wore matching Panama hats, posing for photos arm in arm. They looked like sisters—Amy the fair one, Stacy the dark—both of them tiny, barely five feet tall, birdlike in their thinness. They were sisterly in their behavior, too, full of whispered secrets, wordless intimacies, knowing looks.
Jeff was Amy's boyfriend; Eric was Stacy's. The boys were friendly with each other, but not exactly friends. It had been Jeff's idea to travel to Mexico, a last fling before he and Amy started medical school in the fall. He'd found a good deal on the Internet: cheap, impossible to pass up. It would be three lazy weeks on the beach, lying in the sun, doing nothing. He'd convinced Amy to come with him, then Amy had convinced Stacy, and Stacy had convinced Eric.
Mathias told them that he'd come to Mexico with his younger brother, Henrich, but Henrich had gone missing. It was a confusing story, and none of them understood all the details. Whenever they asked him about it, Mathias became vague and upset. He slipped into German and waved his hands, and his eyes grew cloudy with the threat of tears. After awhile, they didn't ask anymore; it felt impolite to press. Eric believed that drugs were somehow involved, that Mathias's brother was on the run from the authorities, but whether these authorities were German, American, or Mexican, he couldn't say for certain. There'd been a fight, though; they all agreed upon this. Mathias had argued with his brother, perhaps even struck him, and then Henrich had disappeared. Mathias was worried, of course. He was waiting for him to return so that they could fly back to Germany. Sometimes he seemed confident that Henrich would eventually reappear and that all would be fine in the end, but other times he didn't. Mathias was reserved by nature, a listener rather than a talker, and prone in his present situation to sudden bouts of gloom. The four of them worked hard to cheer him up. Eric told funny stories. Stacy did her imitations. Jeff pointed out interesting sights. And Amy took countless photographs, ordering everyone to smile.
In the day, they sunned on the beach, sweating beside one another on their brightly colored towels. They swam and snorkeled; they got burned and began to peel. They rode horses, paddled around in kayaks, played miniature golf. One afternoon, Eric convinced them all to rent a sailboat, but it turned out he wasn't as adept at sailing as he'd claimed, and they had to be towed back to the dock. It was embarrassing, and expensive. At night, they ate seafood and drank too much beer.
Eric didn't know about Stacy and the Greek. He'd gone to sleep after dinner, leaving the other three to wander the beach with Mathias. There'd been a bonfire burning behind one of the neighboring hotels, a band playing in a gazebo. That was where they met the Greeks. The Greeks were drinking tequila and clapping in rhythm with the music. They offered to share the bottle. Stacy sat next to Don Quixote, and there was much talking, in their mutually exclusive languages, and much laughter, and the bottle passed back and forth, everyone wincing at the burning taste of the liquor, and then Amy turned and found Stacy embracing the Greek. It didn't last very long. Five minutes of kissing, a shy touch of her left breast, and the band was finished for the night. Don Quixote wanted her to go back to his room, but she smiled and shook her head, and it was over as easily as that.
In the morning, the Greeks laid out their towels alongside Mathias and the four of them on the beach, and in the afternoon they all went jet skiing together. You wouldn't have known about the kissing if you hadn't seen it; the Greeks were very gentlemanly, very respectful. Eric seemed to like them, too. He was trying to get them to teach him dirty words in Greek. He was frustrated, though, because it was hard to tell if the words they were teaching him were the ones he wanted to learn.
It turned out that Henrich had left a note. Mathias showed it to Amy and Jeff early one morning, during the second week of their vacation. It was handwritten, in German, with a shakily drawn map at the bottom. They couldn't read the note, of course; Mathias had to translate it for them. There wasn't anything about drugs or the police—that was just Eric being Eric, jumping to conclusions, the more dramatic the better. Henrich had met a girl on the beach. She'd flown in that morning, was on her way to the interior, where she'd been hired to work on an archaeological dig. It was at an old mining camp, maybe a silver mine, maybe emeralds—Mathias wasn't certain. Henrich and the girl had spent the day together. He'd bought her lunch and they'd gone swimming. Then he took her back to his room, where they showered and had sex. Afterward, she left on a bus. In the restaurant, over lunch, she'd drawn a map for him on a napkin, showing him where the dig was. She told him he should come, too, that they'd be glad for his help. Once she left, Henrich couldn't stop talking about her. He didn't eat dinner and he couldn't fall asleep. In the middle of the night, he sat up in bed and announced to Mathias that he was going to join the dig.
Mathias called him a fool. He'd only just met this girl, they were in the midst of their vacation, and he didn't know the first thing about archaeology. Henrich assured him that it was really none of his business. He wasn't asking for Mathias's permission; he was merely informing him of his decision. He climbed out of bed and started to pack. They called each other names, and Henrich threw an electric razor at Mathias, hitting him on the shoulder. Mathias rushed him, knocking him over. They rolled around on the hotel room floor, grappling, grunting obscenities, until Mathias accidentally head-butted Henrich in the mouth, cutting his lip. Henrich made much of this, rushing to the bathroom so that he could spit blood into the sink. Mathias pulled on some clothes and went out to get him ice, but then ended up going downstairs to the all-night bar by the pool. It was three in the morning. Mathias felt he needed to calm down. He drank two beers, one quickly, the other slowly. When he got back to their room, the note was sitting on his pillow. And Henrich was gone.
The note was three-quarters of a page long, though it seemed shorter when Mathias read it out loud in English. It occurred to Amy that Mathias might be skipping some of the passages, preferring to keep them private, but it didn't matter—she and Jeff got the gist of it. Henrich said that Mathias often seemed to mistake being a brother with being a parent. He forgave him for this, yet he still couldn't accept it. Mathias might call him a fool, but he be...
Praise for
Scott Smith’s
The Ruins
“A classic horror story, told with mounting, detail. Smith spins it out relentlessly, piling chill on chill on chill. . . . What happens, and needless to say it’s not good, is something readers will race page after flapping page to discover. When they do, they will find–well, better set aside eight or nine hours reading time, keep the lights on, and make sure the plants are still in their pots.”
–Bill Bell, The Daily News
“Aficionados of the horror-suspense genre can start breathing again, but only for a minute: Author Scott Smith has returned with a new shocker. . . . The action is swift and the suspense is positively unflinching . . . Smith’s nail-biting tension is a pleasure all its own and what fans of the genre expect. No let up and no let down–this stuff isn’t for the faint of heart.”
–Peter Pavia, New York Post
“A fast-paced suspense novel that grabs you and refuses to let go. . . Smith’s characterization and timing–the ability to deliver one quick blow after antoher–makes the book so freakishly fun. . . . The story turns grotesque, but Smith’s command of his characters and their demons is masterful. . . . The Ruins is chilling, an icy dissection of human nature in a hot, horrifying place.”
–John Caniglia, The Cleveland Plain Dealer
“An exercise in unremitting tension . . . Smith writes in clear, vivid language with elegant sentences.”
–Diane Scharper, The Baltimore Sun
“One of the most terrifying, creepy, riveting novels that will hit the bookstores this summer. . . . Smith sculpts each of the characters, making us care very much about what happens to these young, naive and sometimes selfish individuals. . . . The Ruins has a claustrophobic feel, which adds to the palpatations of suspense. The great outdoors might as well be a dark, dingy basement full of things that go bump in the night as Smith finds new ways to frighten with his setting.”
–Oline H. Cogdill, The Sun-Sentinel
“Please, please let this be the most disturbing novel of the year. . . . Smith (A Simple Plan) writes with psychological acuity and real beauty, yet he doesn’t pull any punches.”
–Lev Grossman, Time
“Reading Scott Smith is like having a rope tied firmly round your middle, as you’re pulled on protesting tiptoes toward a door marked DOOM. . . . Smith is a master of the ‘if only’ scenario, that most foolish and pungent form of regret . . . At its heart, The Ruins is an old-fashioned horror story, and it’s the invasive, intuitive killer that provides the ice-water dread. . . . It’s Thomas Harris meets Poe in a decidedly timely story: Smith has tapped into our anxieties about global warming, lethal weather, supergerms–our collective fear that nature is finally battling back–and given us a decidedly organic nightmare. Grade: A-.
–Gillian Flynn, Entertainment Weekly
“Once again, Smith (A Simple Plan) deftly explores psychological tension and insidious fears. A perfect beach read; just don’t stray too far from the lifeguard.”
–Library Journal
“A word of caution to readers, gentle and otherwise: Do not pick up a copy of Scott Smith’s The Ruins if you have anything else you need to do in the next eight hours or so. Don’t start this book if you’re especially weak of stomach or nerves, and above all don’t pick it up if you’re not willing to tolerate some deviation from the usual conventions of thrillers and horror stories. . . . The Ruins is like all great genre fiction in its irresistible storytelling momentum, but in its lack of mercy, it’s more like real life. . . . The Ruins is ruthlessly frank about how most of us really behave in extremis. The escalating nightmare of the group’s fate evolves inexorably from their personalities, in a way reminiscent of Greek tragedy, so Smith couldn’t get away with the flimsy figurines that populate more genre fiction. In The Ruins, all of the characters and their vexed interrrelationships are richly and carefully drawn because, in a way, they are the story. . . . Scott Smith shows us an aspect of ourselves and of human nature we’d rather not acknowledge. He’s such a master, though, that it’s impossible to look away.
–Laura Miller, Salon
“What Stephen King did for cars with Christine and for dogs with Cujo, Scott Smith does for creepy foliage (and yes, it’s horrifying!) in his new thriller, The Ruins. It has been 13 years since Smith’s thriller A Simple Plan rocked best-seller lists. Now he’s back with a story so scary you may never want to go on vacation, or dig around in your garden, again. . . . If you love ABC’s Lost and the novels of King and Thomas Harris, you’ll love this book.”
–Carol Memmott, USA Today
“The book of the summer. . . . No quietly building, Ruth Rendell-style suspense here; Smith intends to scare the bejabbers out of you, and succeeds. There are no chapters and no cutaways–The Ruins is your basic long scream of horror. It does for Mexican vacations what Jaws did for New England beaches in 1975. . . . It works well enough, I think, to be the book most people will be talking about this summer. Enjoy the beach . . . enjoy the books . . . and watch out for those Mexican ruins.”
–Stephen King, Entertainment Weekly
“Scott Smith is a singularly gifted writer . . . The new book is here, and the question devotees of A Simple Plan will want answered is whether or not this book generates anything like Plan’s harrowing suspense. The answer is yes. The Ruins is going to be America’s literary shock-show this summer, doing for vacations in Mexico what Jaws did for beach weekends on Long Island. . . . Most of The Ruins’s 300-plus pages is one long, screaming close-up of horror. There’s no let-up, not so much as a chapter-break where you can catch your breath. . . . I found Scott Smith’s refusal to look away heroic . . . It’s the trappings of horror and suspense that will make the book a best seller, but its claim to literature lies in its unflinching naturalism. It’s no Heart of Darkness, but at its suffocating, terrifying, claustrophobic best, it made me think of Frank Norris. Not a bad comparison, at that. One only hopes Mr. Smith won't stay away so long next time.”
–Stephen King, Amazon.com
“At long last, Smith follows up his bestselling first novel, A Simple Plan, with a stunning horror thriller. . . . Smith builds suspense through the slow accretion of telling details . . . Eerie . . . Compelling.”
–Publishers Weekly (starred review)
Praise for A Simple Plan by Scott Smith:
“Simply the best suspense novel of this year—hell, of the 1990s. Think of James M. Cain, think of Thomas Harris—even think of Jane Smiley’s A Thousand Acres, to which Smith’s book bears a weird thematic resemblance . . . think of whomever you want, but read this book. Better than any ‘best-selling’ suspense novel to hit the lists since Silence of the Lambs.”
—Stephen King
“[It] fulfills every expectation of a novel of suspense, leading the reader on a wild exploration of the banality of evil . . . Smith demonstrates the eerie ease with which the mundane can descend to the unthinkable . . . Smith’s imagination never palls.
—Publishers Weekly (starred review)
“The reader is drawn along by fascination. It’s like watching a train wreck: there is nothing to be done, but it is impossible to turn away . . . an almost tragic tale of pure greed . . . as compelling [as] The Treasure of the Sierra Madre.”
—Chicago Tribune
“The year’s finest literary shivers . . . A beautifully controlled piece of writing, all the more impressive for being the debut of its author.”
—Entertainment Weekly
“A Simple Plan works a devastating variation on the idea of the banality of evil . . . Beautifully controlled and disturbing . . . Cunningly imagined.”
—The New York Times Book Review
“It is remarkable to read such a terrifying work expressed in such a seductively reasonable voice. A work of singular power, carrying within it a moral that might well be a metaphor for a society in love with wretched excess.”
—The Washington Post
“Electrifying . . . An eerily flat confessional whose horror is only deepened by its flashes of tenderness. Think of a backwater James M. Cain, or a contemporary midwestern Unforgiven–and don’t think about getting any sleep tonight.”
—Kirkus Reviews
“Astonishing.”
—Vanity Fair
“Its unveiling of a conspiracy of greed gone wrong couldn’t be more finely calibrated. Its lithe rendering of how partners-in-crime become predators bent on destroying one another recalls B. Traven’s The Treasure of the Sierra Madre or the better work of Jim Thompson (The Grifters, After Dark, My Sweet).”
—The Boston Globe
“That rare and satisfying combination: a compulsive thriller which also happens to be a beautifully-written and original work of art.”
—Robert Harris
Scott Smith’s
The Ruins
“A classic horror story, told with mounting, detail. Smith spins it out relentlessly, piling chill on chill on chill. . . . What happens, and needless to say it’s not good, is something readers will race page after flapping page to discover. When they do, they will find–well, better set aside eight or nine hours reading time, keep the lights on, and make sure the plants are still in their pots.”
–Bill Bell, The Daily News
“Aficionados of the horror-suspense genre can start breathing again, but only for a minute: Author Scott Smith has returned with a new shocker. . . . The action is swift and the suspense is positively unflinching . . . Smith’s nail-biting tension is a pleasure all its own and what fans of the genre expect. No let up and no let down–this stuff isn’t for the faint of heart.”
–Peter Pavia, New York Post
“A fast-paced suspense novel that grabs you and refuses to let go. . . Smith’s characterization and timing–the ability to deliver one quick blow after antoher–makes the book so freakishly fun. . . . The story turns grotesque, but Smith’s command of his characters and their demons is masterful. . . . The Ruins is chilling, an icy dissection of human nature in a hot, horrifying place.”
–John Caniglia, The Cleveland Plain Dealer
“An exercise in unremitting tension . . . Smith writes in clear, vivid language with elegant sentences.”
–Diane Scharper, The Baltimore Sun
“One of the most terrifying, creepy, riveting novels that will hit the bookstores this summer. . . . Smith sculpts each of the characters, making us care very much about what happens to these young, naive and sometimes selfish individuals. . . . The Ruins has a claustrophobic feel, which adds to the palpatations of suspense. The great outdoors might as well be a dark, dingy basement full of things that go bump in the night as Smith finds new ways to frighten with his setting.”
–Oline H. Cogdill, The Sun-Sentinel
“Please, please let this be the most disturbing novel of the year. . . . Smith (A Simple Plan) writes with psychological acuity and real beauty, yet he doesn’t pull any punches.”
–Lev Grossman, Time
“Reading Scott Smith is like having a rope tied firmly round your middle, as you’re pulled on protesting tiptoes toward a door marked DOOM. . . . Smith is a master of the ‘if only’ scenario, that most foolish and pungent form of regret . . . At its heart, The Ruins is an old-fashioned horror story, and it’s the invasive, intuitive killer that provides the ice-water dread. . . . It’s Thomas Harris meets Poe in a decidedly timely story: Smith has tapped into our anxieties about global warming, lethal weather, supergerms–our collective fear that nature is finally battling back–and given us a decidedly organic nightmare. Grade: A-.
–Gillian Flynn, Entertainment Weekly
“Once again, Smith (A Simple Plan) deftly explores psychological tension and insidious fears. A perfect beach read; just don’t stray too far from the lifeguard.”
–Library Journal
“A word of caution to readers, gentle and otherwise: Do not pick up a copy of Scott Smith’s The Ruins if you have anything else you need to do in the next eight hours or so. Don’t start this book if you’re especially weak of stomach or nerves, and above all don’t pick it up if you’re not willing to tolerate some deviation from the usual conventions of thrillers and horror stories. . . . The Ruins is like all great genre fiction in its irresistible storytelling momentum, but in its lack of mercy, it’s more like real life. . . . The Ruins is ruthlessly frank about how most of us really behave in extremis. The escalating nightmare of the group’s fate evolves inexorably from their personalities, in a way reminiscent of Greek tragedy, so Smith couldn’t get away with the flimsy figurines that populate more genre fiction. In The Ruins, all of the characters and their vexed interrrelationships are richly and carefully drawn because, in a way, they are the story. . . . Scott Smith shows us an aspect of ourselves and of human nature we’d rather not acknowledge. He’s such a master, though, that it’s impossible to look away.
–Laura Miller, Salon
“What Stephen King did for cars with Christine and for dogs with Cujo, Scott Smith does for creepy foliage (and yes, it’s horrifying!) in his new thriller, The Ruins. It has been 13 years since Smith’s thriller A Simple Plan rocked best-seller lists. Now he’s back with a story so scary you may never want to go on vacation, or dig around in your garden, again. . . . If you love ABC’s Lost and the novels of King and Thomas Harris, you’ll love this book.”
–Carol Memmott, USA Today
“The book of the summer. . . . No quietly building, Ruth Rendell-style suspense here; Smith intends to scare the bejabbers out of you, and succeeds. There are no chapters and no cutaways–The Ruins is your basic long scream of horror. It does for Mexican vacations what Jaws did for New England beaches in 1975. . . . It works well enough, I think, to be the book most people will be talking about this summer. Enjoy the beach . . . enjoy the books . . . and watch out for those Mexican ruins.”
–Stephen King, Entertainment Weekly
“Scott Smith is a singularly gifted writer . . . The new book is here, and the question devotees of A Simple Plan will want answered is whether or not this book generates anything like Plan’s harrowing suspense. The answer is yes. The Ruins is going to be America’s literary shock-show this summer, doing for vacations in Mexico what Jaws did for beach weekends on Long Island. . . . Most of The Ruins’s 300-plus pages is one long, screaming close-up of horror. There’s no let-up, not so much as a chapter-break where you can catch your breath. . . . I found Scott Smith’s refusal to look away heroic . . . It’s the trappings of horror and suspense that will make the book a best seller, but its claim to literature lies in its unflinching naturalism. It’s no Heart of Darkness, but at its suffocating, terrifying, claustrophobic best, it made me think of Frank Norris. Not a bad comparison, at that. One only hopes Mr. Smith won't stay away so long next time.”
–Stephen King, Amazon.com
“At long last, Smith follows up his bestselling first novel, A Simple Plan, with a stunning horror thriller. . . . Smith builds suspense through the slow accretion of telling details . . . Eerie . . . Compelling.”
–Publishers Weekly (starred review)
Praise for A Simple Plan by Scott Smith:
“Simply the best suspense novel of this year—hell, of the 1990s. Think of James M. Cain, think of Thomas Harris—even think of Jane Smiley’s A Thousand Acres, to which Smith’s book bears a weird thematic resemblance . . . think of whomever you want, but read this book. Better than any ‘best-selling’ suspense novel to hit the lists since Silence of the Lambs.”
—Stephen King
“[It] fulfills every expectation of a novel of suspense, leading the reader on a wild exploration of the banality of evil . . . Smith demonstrates the eerie ease with which the mundane can descend to the unthinkable . . . Smith’s imagination never palls.
—Publishers Weekly (starred review)
“The reader is drawn along by fascination. It’s like watching a train wreck: there is nothing to be done, but it is impossible to turn away . . . an almost tragic tale of pure greed . . . as compelling [as] The Treasure of the Sierra Madre.”
—Chicago Tribune
“The year’s finest literary shivers . . . A beautifully controlled piece of writing, all the more impressive for being the debut of its author.”
—Entertainment Weekly
“A Simple Plan works a devastating variation on the idea of the banality of evil . . . Beautifully controlled and disturbing . . . Cunningly imagined.”
—The New York Times Book Review
“It is remarkable to read such a terrifying work expressed in such a seductively reasonable voice. A work of singular power, carrying within it a moral that might well be a metaphor for a society in love with wretched excess.”
—The Washington Post
“Electrifying . . . An eerily flat confessional whose horror is only deepened by its flashes of tenderness. Think of a backwater James M. Cain, or a contemporary midwestern Unforgiven–and don’t think about getting any sleep tonight.”
—Kirkus Reviews
“Astonishing.”
—Vanity Fair
“Its unveiling of a conspiracy of greed gone wrong couldn’t be more finely calibrated. Its lithe rendering of how partners-in-crime become predators bent on destroying one another recalls B. Traven’s The Treasure of the Sierra Madre or the better work of Jim Thompson (The Grifters, After Dark, My Sweet).”
—The Boston Globe
“That rare and satisfying combination: a compulsive thriller which also happens to be a beautifully-written and original work of art.”
—Robert Harris
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- ÉditeurAlfred a Knopf Inc
- Date d'édition2006
- ISBN 10 1400043875
- ISBN 13 9781400043873
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