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The Girl on the Train
Cover of The Girl on the Train
The Girl on the Train
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THE RUNAWAY SUNDAY TIMES NO.1 BESTSELLER AND THRILLER OF THE YEAR, NOW A MAJOR FILM STARRING EMILY BLUNT

'Really great suspense novel. Kept me up most of the night. The alcoholic narrator is dead perfect' STEPHEN KING
____________________

Rachel catches the same commuter train every morning. She knows it will wait at the same signal each time, overlooking a row of back gardens. She's even started to feel like she knows the people who live in one of the houses. 'Jess and Jason', she calls them. Their life – as she sees it – is perfect. If only Rachel could be that happy.

And then she sees something shocking. It's only a minute until the train moves on, but it's enough.

Now everything's changed. Now Rachel has a chance to become a part of the lives she's only watched from afar.

Now they'll see; she's much more than just the girl on the train...

THE RUNAWAY SUNDAY TIMES NO.1 BESTSELLER AND THRILLER OF THE YEAR, NOW A MAJOR FILM STARRING EMILY BLUNT

'Really great suspense novel. Kept me up most of the night. The alcoholic narrator is dead perfect' STEPHEN KING
____________________

Rachel catches the same commuter train every morning. She knows it will wait at the same signal each time, overlooking a row of back gardens. She's even started to feel like she knows the people who live in one of the houses. 'Jess and Jason', she calls them. Their life – as she sees it – is perfect. If only Rachel could be that happy.

And then she sees something shocking. It's only a minute until the train moves on, but it's enough.

Now everything's changed. Now Rachel has a chance to become a part of the lives she's only watched from afar.

Now they'll see; she's much more than just the girl on the train...

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Awards-
About the Author-
  • PAULA HAWKINS worked as a journalist for fifteen years before turning her hand to fiction. Born and brought up in Zimbabwe, Paula moved to London in 1989 and has lived there ever since. Her first thriller, The Girl on the Train, has been a global phenomenon, selling almost 20 million copies worldwide. Published in over forty languages, it has been a No.1 bestseller around the world and was a No.1 box office hit film starring Emily Blunt.
    Into the Water, her second stand-alone thriller, has also been a global No.1 bestseller.

Reviews-
  • Publisher's Weekly

    Starred review from November 10, 2014
    Rachel Watson, the principal narrator of Hawkins’s psychologically astute debut, is obsessed with her ex-husband, Tom. She’s having a hard time putting the past behind her, especially since she confronts it daily, during the hourlong commute to London from her rented room in Ashbury, Oxfordshire, when her train passes the Victorian house she once shared with Tom. She also frequently spies an attractive couple, four doors down from her former home, who she imagines to be enjoying the happily-ever-after that eluded her. Then, suddenly, the woman, pixie-ish blonde Megan Hipwell, vanishes—only to turn up on the front page of the tabloids as missing. The police want to question Rachel, after Anna, Tom’s new wife, tells them that Rachel was in the area drunkenly out of control around the time of Megan’s disappearance. Hawkins, formerly deputy personal finance editor of the Times of London, deftly shifts between the accounts of the addled Rachel, as she desperately tries to remember what happened, Megan, and, eventually, Anna, for maximum suspense. The surprise-packed narratives hurtle toward a stunning climax, horrifying as a train wreck and just as riveting. Agent: Lizzy Kremer, David Higham Associates (U.K.).

  • STEPHEN KING "achieves a sinister poetry . . . Hawkins keeps the nastiest twist for last"
  • Financial Times "A complex and increasingly chilling tale courtesy of a number of first-person narratives that will wrong-foot even the most experienced of crime fiction readers"
  • Irish Times "Really great suspense novel. Kept me up most of the night. The alcoholic narrator is dead perfect."
  • Huffington Post "Hawkins' masterful deployment of unwittingly unreliable narration to evoke the aftershocks of abuse and trauma is a powerful way of exploring women's marginalization"
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    Transworld
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