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Twilight Hardcover – 20 Oct 2006

4.0 out of 5 stars 13 customer reviews

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Product details

  • Hardcover: 224 pages
  • Publisher: MacAdam/Cage Publishing (20 Oct. 2006)
  • Language: English
  • ISBN-10: 1596920580
  • ISBN-13: 978-1596920583
  • Product Dimensions: 16.3 x 2.2 x 23.3 cm
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (13 customer reviews)
  • Amazon Bestsellers Rank: 2,993,076 in Books (See Top 100 in Books)

Product Description


'A superior piece of fiction.' -- Guardian

'An intensely thrilling slice of Southern Gothic ... [Gay] has an ear for the cadence of southern American speech to rival Flannery O'Connor.' -- Independent on Sunday

'Gay's writing is deeply funny with a great sense of the grotesque.' -- Sunday Business Post

'Gripping [and] ghoulish ... William Gay has a rich, sometimes menacing style which is sustained throughout this dark, surrealist story.' -- Irish Times

'Remarkable ... As unsettling as it is enticing.' -- Daily Telegraph

'Remarkable ... this evocative fable of discovery presents an America seething with menace ... as unsettline as it is enticing.' -- Daily Telegraph

'The writing has a febrile lyricism exactly suited to its nightmarish subject matter.' -- The Times

'There is no disputing William Gay's mastery of storytelling ... horribly moreish.' Sunday Telegraph -- Sunday Telegraph

'Think No Country for Old Men crossed with Deliverance, then double the impact.' - Chosen as his No. 1 Book for 2007 -- Stephen King, Entertainment Weekly

'This treacly slab of Southern Gothic is contagiously enjoyable.'
-- Observer -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.

Book Description

A gripping Southern Gothic novel about an undertaker who won't let the dead rest.

-- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.

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Customer Reviews

Top Customer Reviews

Format: Paperback
This book is a great read, it'll keep you gripped from page 1, and although it's unsettling and spooky, you'll want to keep reading because it's just so well written.

The book starts with two teenagers - Kenneth & Connie Taylor, investigating the burial of their father in Tennessee in the 1950s - they dig up his grave and find that he hasn't been buried in the casket they paid for. This isn't the most disturbing discovery they make, with the local undertaker Fenton Breece having carried out some very unsavory acts of desecration.

Determined to give Breece his just desserts, they plan to blackmail Breece with photographs of the un-natural acts that he's been performing on some of the female bodies (I know this may sound tawdry, but stick with it!!). This plan goes wrong when Breece hires the local town psychopath (every town has one!) - Sutter, to retrieve the incriminating photos - after a car crash leaves Connie dead, Kenneth is forced to flee into the wild countryside known as the Harrikin.

With Sutter in hot pursuit (like Michael Myers in Halloween, he just knows where to head with seemingly telepathic superpowers!), Kenneth runs for his life, encountering what sounds like a check list of Deep South stereotypes... the crazy witch brewing potions, the old hermit, the alcoholic/bible bashing redneck...BUT they are written with such deftness, and descriptiveness, these aren't just incidental characters, they are pieces of an intricate jigsaw puzzle, expertly crafted by William Gay.

I have rarely found myself so absorbed a book, as I did in this one. Gay really managed to bring the Deep South to life, I almost felt as though I was there.
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Format: Hardcover
First of all - when you name a thing, it can somehow limit the scope of that thing. For instance, when William Gay's writing is labeled `Southern gothic' by reviewers, it's possible that a potential reader who has never particularly appreciated that genre might defer experiencing what could very well be a lifechanging literary experience. Know this: nobody writes like William Gay - and in the case of his work, it's more an instance of the genre being absolutely exploded by the depth and scope of his art.

In TWILIGHT, Gay lays out what in the hands of most other writers would be a simple tale of good-versus-evil. A brother and sister suspect that the local undertaker has cheated them in the burial of their father - a steel vault that should have surrounded his casket is, when they dig it up, missing. Following her hunches, Corrie Tyler convinces her brother Kenneth to join her in exhuming other deceased citizens of their rural Tennessee town - and what they find exceeds her wildest grim imaginings. The undertaker, one Fenton Breece, has apparently made a practice of desecrating - oftentimes obscenely - the bodies of the departed entrusted to his benevolent care. Corrie is determined that Breece should pay for what he did to their daddy - and Kenneth manages to purloin a bit of evidence - a bundle of...shall we say...incriminating photographs - from the trunk of the grim digger's car that the two believe should convince him to cough up a hearty (in the day) bit of cash, in reparation and punishment.

Breece, however, disagrees - and while he consents to Corrie's proffered bargain, he has other plans in mind for the siblings.
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Format: Paperback Verified Purchase
There are already on board some fine reviews of this wonderful novel. That it should produce such a high quality of response itself testifies to the book's exceptional merit.

A number of the reviews are taken up with two influences: the Southern Gothic and the writings of Cormac McCarthy, presumably most particularly the magnificent "Blood Meridian" and the almost equally fine "The Border Trilogy." The categorisation of novels can be convenient shorthand, but shouldn't I think, place books into rigid pigeon holes. Whether or not "Twilight" is true southern gothic seems to me an irrelevance. I'm sure Guy did not set out to add to an existing genre. If incidentally he draws on aspects of the tradition, so be it. In its own right the novel is exceptional. In no way am I the first to be stunned by how beautifully written the book is. This is no self-conscious parade of verbal panache; it is wonderfully attuned to register landscape character and action with precision and vitality. We inhabit the Harrikin palpably, experiencing Tyler's physical and emotional roller coaster from instant to instant. Not least, we too are haunted and pursued by the brilliantly menacing figure of Granville Sutter, so well described in one review as inspiring fear akin to that made manifest in the Robert Mitchum character in "Night of the Hunter". A character to stalk anyone's nightmares.

I bow to none in my admiration for the early/middle works of Cormac McCarthy, and if his shadow falls across aspects of this novel, that is no bad thing. Plagiaristic the novel is not. It comes vibrantly alive in its own right and unconscious borrowings and influences have enlarged and strengthened some of the finest literature. Rarely do I find blurb citations of much value.
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