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&ldquo;Spellbinding . . . A seductive and arresting coming-of-age story hinged on Charles Manson, told in sentences at times so finely wrought they could almost be worn as jewelry . . . [Emma] Cline gorgeously maps the topography of one loneliness-ravaged adolescent heart. She gives us the fictional truth of a girl chasing danger beyond her comprehension, in a Summer of Longing and Loss.&rdquo;&mdash;The New York Times Book Review &ldquo;[The Girls reimagines] the American novel . . . Like Mary Gaitskill&rsquo;s Veronica or Lorrie Moore&rsquo;s Who Will Run the Frog Hospital?, The Girls captures a defining friendship in its full humanity with a touch of rock-memoir, tell-it-like-it-really-was attitude.&rdquo;&mdash;Vogue &ldquo;Debut novels like this are rare, indeed. . . . The most remarkable quality of this novel is Cline&rsquo;s ability to articulate the anxieties of adolescence in language that&rsquo;s gorgeously poetic without mangling the authenticity of a teenager&rsquo;s consciousness. The adult&rsquo;s melancholy reflection and the girl&rsquo;s swelling impetuousness are flawlessly braided together. . . . For a story that traffics in the lurid notoriety of the Manson murders, The Girls is an extraordinary act of restraint. With the maturity of a writer twice her age, Cline has written a wise novel that&rsquo;s never showy: a quiet, seething confession of yearning and terror.&rdquo;&mdash;The Washington Post &ldquo;Outstanding . . . Cline&rsquo;s novel is an astonishing work of imagination&mdash;remarkably atmospheric, preternaturally intelligent, and brutally feminist. . . . Cline painstakingly destroys the separation between art and faithful representation to create something new, wonderful, and disorienting.&rdquo;&mdash;The Boston Globe &ldquo;Finely intelligent, often superbly written, with flashingly brilliant sentences, . . . Cline&rsquo;s first novel, The Girls, is a song of innocence and experience. . . . In another way, though, Cline&rsquo;s novel is itself a complicated mixture of freshness and worldly sophistication. . . . At her frequent best, Cline sees the world exactly and generously. On every other page, it seems, there is something remarkable&mdash;an immaculate phrase, a boldly modifying adverb, a metaphor or simile that makes a sudden, electric connection between its poles. . . . Much of this has to do with Cline&rsquo;s ability to look again, like a painter, and see (or sense) things better than most of us do.&rdquo;&mdash;The New Yorker &ldquo;Breathtaking . . . So accomplished that it&rsquo;s hard to believe it&rsquo;s a debut. Cline&rsquo;s powerful characters linger long after the final page.&rdquo;&mdash;Entertainment Weekly (Summer Must List) &ldquo;A mesmerizing and sympathetic portrait of teen girls.&rdquo;&mdash;People (Summer&rsquo;s Best Books) &ldquo;The Girls isn&rsquo;t a Wikipedia novel, it&rsquo;s not one of those historical novels that congratulates the present on its improvements over the past, and it doesn&rsquo;t impose today&rsquo;s ideas on the old days. As the smartphone-era frame around Evie&rsquo;s story implies, Cline is interested in the Manson chapter for the way it amplifies the novel&rsquo;s traditional concerns. Pastoral, marriage plot, crime story&mdash;the novel of the cult has it all.&rdquo;&mdash;New York Magazine

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