Daniel Kehlmann was born in Munich in 1975 and lives in Berlin and New York. His works have won the Candide Prize, the Doderer Prize, the Kleist Prize, the Welt Literature Prize, and the Thomas Mann Prize. Measuring the World was translated into more than forty languages and is one of the greatest successes in postwar German literature.
“Mind-bending. . . . Part horror, part science fiction.” —The New
York Times Book Review
“A book that should carry a health warning: read alone at your own
risk.” —Monocle
“Riveting.” —Entertainment Weekly
“Clever, exquisitely terrifying. . . . [Kehlmann] makes
entertainment out of metaphysics.” —Harper’s Magazine
“A masterclass in economical storytelling, meticulously attentive
prose and imaginative agility. Kehlmann creates narrative
complexity with the deftest of strokes.” —The Literary Review
“[A] master novelist. . . . [Kehlmann] has a rare ability to make
complex ideas the stuff of warm, light fiction.” —The Times
Literary Supplement
“A beautifully crafted exercise in terror. . . . [Kehlmann] creates
a sense of existential dread that transcends the typical ghost
story. . . . A book to keep you up at night.” —Kirkus Reviews
(starred review)
“[Kehlmann] is in total control. . . . He and his translator Ross
Benjamin squeeze an enormous amount of readerly anxiety out of very
few carefully placed words. . . . This is a story about a marriage
in trouble, and about a seemingly impossible desire to protect a
young child from threatening reality, but also about something
else, something unavoidable and powerful but terrifyingly vague. .
. . This little book . . . has a funny way with dimensions—its
effects are amplified, and they linger.” —The Spectator
“A masterful experiment about the limits of literary realism.” —The
Brooklyn Rail
“Wry, eerie and increasingly terrifying. . . . Kehlmann is a
formidable observer with a flair for articulating dysfunctional
behaviour. . . . An entertaining Everyman’s postmodernist Gothic
guaranteed to unsettle.” —The Irish Times
“A quick, fun, breathless read. It’s inventive and scary—and a
delightful take on the writing life.” —The Huffington Post
“Chilling. . . . Kehlmann makes deft use of horror staples and
offers commentary on the distinction between art and life.”
—Publishers Weekly
“A taut and scary novella.” —The Sunday Times (London)
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