But when Anna, gazing out her window one night, sees something she shouldn’t, her world begins to crumble-and its shocking secrets are laid bare.

Then the Russells move into the house across the way: a father, a mother, their teenage son. She spends her day drinking wine (maybe too much), watching old movies, recalling happier times. Īnna Fox lives alone-a recluse in her New York City home, unable to venture outside.

It isn’t paranoia if it’s really happening. Finn was heavily influenced by Flynn, Paula Hawkins (though he is a far superior stylist), and Alfred Hitchcock-notably Rear Window -stealing the best elements of them all and adding his own diabolical twists for his unique narrative.'įor readers of Gillian Flynn and Tana French comes one of the decade’s most anticipated debuts, to be published in thirty-six languages around the world and already in development as a major film from Fox: a twisty, powerful Hitchcockian thriller about an agoraphobic woman who believes she witnessed a crime in a neighboring house. It is so well written that it is fit to stand alongside Gillian Flynn’s Gone Girl. Times bestseller list the first week it was released and rightly so. If the actual murder is the first shock in the book, the second is not far behind-and there are more to come. Looking through their never-curtained window, she witnesses a brutal murder and calls the police. It is the story of Anna Fox, a woman suffering from severe agoraphobia, confining her to her home where her major interests are drinking (Merlot), watching noir movies, and watching her neighbors, especially the young man and his parents who live across a small park. Then I read it and understood all that enthusiasm. 'I thought this was the most over-hyped book of the year when I saw that it received a huge advance payment, was sold in 37 countries, was bought for $1,000,000 for the movies, and had a staggering first printing. Otto Penzler's Book of the Month review, from our February 2018 Newsletter:

Woman on the window book