'Abbott has already been responsible for a handful of excellent novels- influenced by Hollywood film noir and set mostly during the mid-20th century- but I think this could be her best. At any rate, it's her most daring. . . Fortunately, Abbott's prose is as seamless as it is fevered, resulting in something that reads like a nightmare in which reality is flimsy yet hyper-real. . . Abbott's book might be set in suburbia and about childhood, but, by investigating obsession, sex and everything else associated with the unexamined life, it goes straight to the heart of what noir fiction is about, while, at the same time, helping to reset its parameters.'
`The story of a child's disappearance, but with a twist that'll leave you intrigued.'
'A fine example of the classic coming-of-age trope...an accomplished psychological thriller, familiar and twisting in just the right measures... This is a highly skilled novel, taut, addictive, full of stuff to keep you hungrily reading.' --Sunday Times Sunday Times
'Every so often a novel comes along that gets pretty much everyone reading and pretty much everyone else talking...anyone looking for this year's equivalent, a word-of-mouth phenomenon that does not shy away from dark subject matter, should pick up The End of Everything by Megan Abbott... the book is being hailed as one of the best reads of the summer by broadsheets and women's magazines alike...arguably the greatest achievement of The End of Everything is the way it captures the essence of being a young girl teetering somewhere between childhood and adulthood; tantalised by glimpses of freedom in a mysterious adult world' --Sunday Express
'This is one of those gripping books you'll postpone a night out for, just to be able to finish it. It's an astonishingly insightful tale of two girls learning to deal with their sexuality and very adult relationships at a young age... A fascinating read.' --Heat Magazine
'On the back of the success of The Lovely Bones by Alice Sebold and in a similar vein to Jeffrey Eugenides' The Virgin Suicides comes this haunting and gripping tale about two girls on the cusp of adolescence...as the unexpected truth behind Evie's disappearance is tauntingly revealed, the reader uncovers even more dark secrets hidden behind the closed doors of Cloverly Way. An utterly addictive read.'
`A shimmering, disturbing tale of a missing teenage girl and her best friend's quest to find her . . . Abbott unflinchingly captures the way in which the hazy, dreamy world of childhood crushes is replaced by the brutal reality of predatory adult sexuality. Brilliantly menacing.' --Marie Claire
`Echoing The Lovely Bones and The Virgin Suicides, The End of Everything explores the torment and frustration of being a 13-year-old girl sat on the white picket fence between innocence and knowing everything. An addictive read, the story unfolds like a dream: hazy and disturbing, you can't quite shake it off.' --welovethisbook
`Dark and unsettling . . . Abbott's ability to reconnect with the secrecy, feverish intensity and unearned worldliness of adolescence is uncanny. Not a whodunit, but a sensitive, unconventional tale about the infinitely complex mystery of sexual awakening that lingers in the mind long after the book is finished.' --Guardian
`This is one of those gripping books you'll postpone a night out for, just to be able to finish it. It's an astoundingly insightful tale of two girls learning to deal with their sexuality and very adult relationships at a young age.' --Heat
`Abbott sensitively captures the nuances of that complicated age and its intense friendships. She has been compared to Kate Atkinson; this book to The Lovely Bones. It is certainly one of those novels that stays with you. Read it. You might even be tempted to type its name on a bit of paper, and hand it to people you meet.' --bookslive
'Megan Abbott's sixth novel concerns the disappearance of a thirteen-year-old girl, Evie Verver, told through the eyes of her inseparable best friend, Lizzie. Think of a darker, less innocent American version of The Curious Incident Of The Dog In The Night Time, set in the creepy suburbia of the early scenes of John Carpenter's Halloween, and you're just about there. Abbott's style makes the book feel slightly twinkling and dreamlike, but it's also jittery and sly, delivering its shocks stealthily and leaving you unsure right until the last moment exactly what surround the Verver family and their extended social circle. Like Jeffrey Eugenides' The Virgin Suicides, it's ultimately most memorable for its narrator's wide-eyed encapsulation of the gap between the child and adult world than it is for its central dark mystery. "Is being young so magical that they must conjure it up again, can't help themselves?" she asks of her grown-up acquaintances. "I don't see any magic in it at all." Yet magic is often exactly what she presents us with.'
'Abbott's prose style, with its long slippery sentences and sharp observations, is perfect for evoking this life stage. . . One feels that Abbott has not told all. I reread the ending several times to feel sure that I understood. Even then, there were things not quite said, not quite spelled out. It's this oblique quality, this sense of half exposure, that makes The End of Everything so intriguing.'
`The compulsive, dream-like tale of a missing teenage girl, an emotionally complex examination of burgeoning female sexuality that lives long in the memory.'
--Doug Johnstone, Sunday Herald