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A Long Way Down

A Long Way Down

3.7 88
by Nick Hornby

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A wise, affecting novel from the beloved, award-winning author of Funny Girl, High Fidelity, and About A Boy.

Nick Hornby mines the hearts and psyches of four lost souls who connect just when they’ve reached the end of the line.

In four distinct and riveting first-person voices, Hornby tells a story of four individuals


A wise, affecting novel from the beloved, award-winning author of Funny Girl, High Fidelity, and About A Boy.

Nick Hornby mines the hearts and psyches of four lost souls who connect just when they’ve reached the end of the line.

In four distinct and riveting first-person voices, Hornby tells a story of four individuals confronting the limits of choice, circumstance, and their own mortality. This is a tale of connections made and missed, punishing regrets, and the grace of second chances.

Editorial Reviews

From the Publisher
“One New Year’s Eve, four people with very different reasons but a common purpose find their way to the top of a fifteen-story building in London. None of them has calculated that, on a date humans favor for acts of significance, in a place known as a local suicide-jumpers’ favorite, they might encounter company. A Long Way Down is the story of what happens next, and of what doesn’t.”  —The New York Times Book Review
“It’s like The Breakfast Club rewritten by Beckett.… What makes the book work is Hornby’s refusal to give an inch to sentimentality or cheap inspirational guff.” —Time 

"A dramatic, sad and thoroughly side-splitting novel." —Newsday

"Wildly enjoyable. A daring high-wire act. It's serious literature...no, it's popular entertainment...no, it's both!" —Seattle Times

"Time's stealthy tread, its unseen ability to heal some wounds while inflicting others, gives Nick Hornby's darkly comic new novel, A Long Way Down, its genuine power." —San Francisco Chronicle

"New Year's Eve was a night for sentimental losers. It was my own stupid fault. Of course ther'd be a low-rent crowd up there. I should have picked a classier date -- like March 28nd, when Virginia Woolf took her walk into the river, or November 25th (Nick Drake). If anybody had been on the roof on either of those nights, the chances are they would have been like-minded souls, rather than hopeless f*ck-ups who had somehow persuaded themselves that the end of a calendar year is in any way significant." Nick Hornby's predictably unpredictable fourth novel invites us to the roof of Topper's House, a traditional London suicide haunt. A Long Way Down is delivered through the distinctive voices of four would-be plungers.
Chris Heath
At its heart, A Long Way Down isn't really about suicide itself anyway. All four principal characters come down from the rooftop together and alive -- at least on that first evening. It's more about what happens when you don't kill yourself, and the tale Hornby subsequently tells is an unusual and unpredictable one. The book begins with an epigraph from the novelist Elizabeth McCracken -- ''The cure for unhappiness is happiness, I don't care what anyone says'' -- but in what follows Hornby doesn't confuse the simplicity of this thought with the impossibility of sometimes living it. For all his light touches, he is never superficial enough to suggest that these lives that have fallen apart, in four of the millions of ways lives may do so, can easily be patched up and renewed. Whatever limited consolations the book's survivors find in each other, Hornby resists melodramatic resolutions or glorious moments of redemption, and he doesn't smuggle away or refute all the reasons his characters took with them to the rooftop where they met, the ones that urged them toward the edge rather than down to the ground the slow way, back into the world.
— The New York Times
Publishers Weekly
More than just a reading of Hornby's fourth novel, this audiobook is nearly an audio play with three excellent actors playing four characters. A famous pervert, an old maid, a crazy chick and a has-been rocker walk into a bar... well, they eventually do walk into a pub or two, but this disparate group of strangers first meet on a tower rooftop. Each of the quartet has independently decided to jump on New Year's Eve. Now, bonded by circumstance, they can't get rid of each other. Vance does a superb job rendering the glib tones of Martin, the TV anchor fallen from grace (he did jail time for having sex with a 15-year-old). His pompous but self-loathing delivery is dead on. Brick, with more than 150 audiobooks under his belt, perfectly nails the earnest voice and cockiness of J.J., the washed-up American rocker. And Kate Reading is outstanding playing both female characters. As Maureen, the older woman with no social life, she exudes quiet, naive dignity, but she really shines as Jess, the young wacko whose rudeness and rebellion are conveyed with a brash comical snap. Simultaneous release with the Riverhead hardcover (Reviews, Apr. 4). (June) Copyright 2005 Reed Business Information.
Library Journal
In his fourth novel, Hornby delves into even darker material than his moving divorce meditation, How To Be Good. It is New Year's Eve circa 2003, and three Londoners and one American cross paths on the roof of Topper's House, so named for its popularity as a suicide spot. Single mom Maureen has tired of caring for her severely disabled adult son, while Martin sees no way of regaining his TV career and marriage after a prison stint for statutory rape; at 18, Jess is hormonally challenged and distraught after a sudden breakup, and Georgia native JJ has lost his woman and his rock'n'roll band. Throw them all together, and you have four lives saved-but a surprisingly tedious read of their post-attempt adventures in bonding. Each character takes turns narrating, a device that only exacerbates the group's sour chemistry. Good on Hornby for not wanting to write an "inspirational" novel of disparate people coming together, but he went a little too far in delineating their differences. The tireless bickering, especially between Martin and Jess, makes one wonder why the foursome doesn't kill one another. There are flashes of Hornby's talent for the tragicomic in Martin (an aging male in a youth-obsessed world), but overall, this is a slip-up. Given Hornby's enduring popularity, however, larger libraries should order. [See Prepub Alert, LJ 2/1/05.]-Heather McCormack, Library Journal Copyright 2005 Reed Business Information.
School Library Journal
Adult/High School-Four different people find themselves on the same roof on New Year's Eve, but they have one thing in common-they're all there to jump to their deaths. A scandal-plagued talk-show host, a single mom of a disabled young man, a troubled teen, and an aging American musician soon unite in a common cause, to find out why Jess (the teen) can't get her "ex-boyfriend" to return her calls. Down the stairs they go, and thoughts of suicide gradually subside. It all sounds so high concept, but each strand of the plot draws readers into Hornby's web. The novel is so simply written that its depths don't come to full view until well into the reading. Each character takes a turn telling the story in a distinctive voice. Tough questions are asked-why do you want to kill yourself, and why didn't you do it? Are adults any smarter than adolescents? What defines friends and family? Characters are alternately sympathetic and utterly despicable, talk-show-host Martin, particularly. The narrators are occasionally unreliable, with the truth coming from the observers instead. Obviously, a book about suicide is a dark read, but this one is darkly humorous-as Hornby usually is. Teens will identify with or loathe Jess and musician J. J., but they will also find themselves in the shoes of Maureen and Martin. This somewhat philosophical work will appeal to Hornby's fans but has plenty to attract new audiences as well.-Jamie Watson, Harford County Public Library, MD Copyright 2005 Reed Business Information.
Kirkus Reviews
Four suicidal depressives, meaning to do themselves in, meet on the same London rooftop-and form a pact-in an unpredictably comic fourth novel from Hornby. Except for a few mini-dissertations on rock and the Beatles, there are times when you'd hardly know that music- and pop-culture-obsessed Hornby (How to Be Good, 2001, etc.) was this story's author. It's New Year's Eve, and four people are converging on top of a building called Toppers' House. There are Jess, the slightly deranged daughter of a high-ranking politician; Martin, a former TV host just out of jail for statutory rape (girl was15, said16); JJ, a newly single Chicago musician whose band recently broke up; and Maureen, a devout Catholic and single mother raising a son who's been in a coma since birth. Needless to say, all have good reasons to off themselves (well, except JJ, which is why he pretends for a time to have a fatal illness), but coming together in such a random fashion forms a strange bond, and, instead of jumping off, they become friends, sort of. Making a pact to reassess their options in 90 days, they start meeting regularly, since there's nobody else they can talk to. Always a sucker for the happy ending, Hornby doesn't disappoint, but that's not to say he takes the easy road out. This is a group that spends more time firing caustic broadsides at each other and heaping more turmoil on their already tattered lives than in figuring out their grand purpose-and there's little in the way of epiphany awaiting them. The solution (if any) to their despair is more likely to come in a small moment of kindness than in any best-selling therapist's notion of closure. With the exception of a perfunctory subplot about thepact's brief time in the media spotlight, this is a well-executed and thoughtful tale that never digs too deep and simultaneously doesn't denigrate the seriousness of its characters' dilemmas. Highly moving and lively storytelling: Hornby's gifts become more apparent with each outing. First printing of 175,000; first serial to Best Life; author tour

Product Details

Penguin Publishing Group
Publication date:
Edition description:
Sales rank:
Product dimensions:
5.12(w) x 7.96(h) x 0.90(d)
Age Range:
18 - 17 Years

Read an Excerpt


Can I explain why I wanted to jump off the top of a tower block? Of course I can explain why I wanted to jump off the top of a tower block. I'm not a bloody idiot. I can explain it because it wasn't inexplicable: it was a logical decision, the product of proper thought. It wasn't even very serious thought, either. I don't mean it was whimsical - I just meant that it wasn't terribly complicated, or agonised. Put it this way: say you were, I don't know, an assistant bank manager, in Guildford. And you'd been thinking of emigrating, and then you were offered the job of managing a bank in Sydney. Well, even though it's a pretty straightforward decision, you'd still have to think for a bit, wouldn't you? You'd at least have to work out whether you could bear to move, whether you could leave your friends and colleagues behind, whether you could uproot your wife and kids. You might sit down with a bit of paper and draw up a list of pros and cons. You know:

CONS - Aged parents, friends, golf club.

PROS - more money, better quality of life (house with pool, barbecue etc), sea, sunshine, no left-wing councils banning Baa-Baa Black Sheep, no EEC directives banning British sausages etc. It's no contest, is it? The golf club! Give me a break. Obviously your aged parents give you pause for thought, but that's all it is - a pause, and a brief one, too. You'd be on the phone to the travel agents within ten minutes.

Well, that was me. There simply weren't enough regrets, and lots and lots of reasons to jump. The only things in my 'cons' list were the kids, but I couldn't imagine Cindy letting me see them again anyway. I haven't got any aged parents, and I don't play golf. Suicide was my Sydney. And I say that with no offence to the good people of Sydney intended.


I told him I was going to a New Year's Eve party. I told him in October. I don't know whether people send out invitations to New Year's Eve parties in October or not. Probably not. (How would I know? I haven't been to one since 1984. June and Brian across the road had one, just before they moved. And even then I only nipped in for an hour or so, after he'd gone to sleep.) But I couldn't wait any longer. I'd been thinking about it since May or June, and I was itching to tell him. Stupid, really. He doesn't understand, I'm sure he doesn't. They tell me to keep talking to him, but you can see that nothing goes in. And what a thing to be itching about anyway! But it goes to show what I had to look forward to, doesn't it?

The moment I told him, I wanted to go straight to confession. Well, I'd lied, hadn't I? I'd lied to my own son. Oh, it was only a tiny, silly lie: I'd told him months in advance that I was going to a party, a party I'd made up. I'd made it up properly, too. I told him whose party it was, and why I'd been invited, and why I wanted to go, and who else would be there. (It was Bridgid's party, Bridgid from the Church. And I'd been invited because her sister was coming over from Cork, and her sister had asked after me in a couple of letters. And I wanted to go because Bridgid's sister had taken her mother-in-law to Lourdes, and I wanted to find out all about it, with a view to taking Matty one day.) But confession wasn't possible, because I knew I would have to repeat the sin, the lie, over and over as the year came to an end. Not only to Matty, but to the people at the nursing home, and....Well, there isn't anyone else, really. Maybe someone at the Church, or someone in a shop. It's almost comical, when you think about it. If you spend day and night looking after a sick child, there's very little room for sin, and I hadn't done anything worth confessing for donkey's years. And I went from that to sinning so terribly that I couldn't even talk to the priest, because I was going to go on sinning and sinning until the day I died, when I would commit the biggest sin of all. (And why is it the biggest sin of all? All your life you're told that you'll be going to this marvellous place when you pass on. And the one thing you can do to get you there a bit quicker is something that stops you getting there at all. Oh, I can see that it's a kind of queue-jumping. But if someone jumps the queue at the Post Office, people tut. Or sometimes they say, 'Excuse me, I was here first.' They don't say, 'You will be consumed by hellfire for all eternity.' That would be a bit strong.) It didn't stop me from going to the Church, or from taking Mass. But I only kept going because people would think there was something wrong if I stopped.

As we got closer and closer to the date, I kept passing on little tidbits of information that I told him I'd picked up. Every Sunday I pretended as though I'd learned something new, because Sundays were when I saw Bridgid. "Bridgid says there'll be dancing." "Bridgid's worried that not everyone likes wine and beer, so she'll be providing spirits." "Bridgid doesn't know how many people will have eaten already." If Matty had been able to understand anything, he'd have decided that this Bridgid woman was a lunatic, worrying like that about a little get-together. I blushed every time I saw her at the Church. And of course I wanted to know what she actually was doing on New Year's Eve, but I never asked. If she was planning to have a party, she might've felt that she had to invite me.

I'm ashamed, thinking back. Not about the lies - I'm used to lying now. No, I'm ashamed of how pathetic it all was. One Sunday I found myself telling Matty about where Bridgid was going to buy the ham for the sandwiches. But it was on my mind, New Year's Eve, of course it was, and it was a way of talking about it, without actually saying anything. And I suppose I came to believe in the party a little bit myself, in the way that you come to believe the story in a book. Every now and again I imagined what I'd wear, how much I'd drink, what time I'd leave. Whether I'd come home in a taxi. That sort of thing. In the end it was as if I'd actually been. Even in my imagination, though, I couldn't see myself talking to anyone at the party. I was always quite happy to leave it.


I was at a party downstairs in the squat. It was a shit party, full of all these ancient crusties sitting on the floor drinking cider and smoking huge spliffs and listening to weirdo space-out reggae. At midnight, one of them clapped sarcastically, and a couple of others laughed, and that was it - Happy New Year to you too. You could have turned up to that party as the happiest person in London, and you'd still have wanted up to jump off the roof by five past twelve. And I wasn't the happiest person in London anyway. Obviously.

I only went because someone at college told me Chas would be there, but he wasn't. I tried his mobile for the one zillionth time, but it wasn't on. When we first split up, he called me a stalker, but that's like an emotive word, 'stalker', isn't it? I don't think you can call it stalking when it's just phone calls and letters and emails and knocking on the door. And I only turned up at his work twice. Three times, if you count his Christmas party, which I don't, because he said he was going to take me to that anyway. Stalking is when you follow them to the shops and on holiday and all that, isn't it? Well, I never went near any shops. And anyway I didn't think it was stalking when someone owed you an explanation. Being owed an explanation is like being owed money, and not just a fiver, either. Five or six hundred quid minimum, more like. If you were owed five or six hundred quid minimum and the person who owed it to you was avoiding you, then you're bound to knock on his door late at night, when you know he's going to be in. People get serious about that sort of money. They call in debt collectors, and break people's legs, but I never went that far. I showed some restraint.

So even though I could see straight away that he wasn't at this party, I stayed for a while. Where else was I going to go? I was feeling sorry for myself. How can you be eighteen and not have anywhere to go on New Year's Eve, apart from some shit party in some shit squat where you don't know anybody? Well, I managed it. I seem to manage it every year. I make friends easily enough, but then I piss them off, I know that much, even if I'm not sure why or how. And so people and parties disappear.

I pissed Jen off, I'm sure of that. She disappeared, like everyone else.


I'd spent the previous couple of months looking up suicide inquests on the Internet, just out of curiosity. And nearly every single time, the coroner says the same thing: "He took his own life while the balance of his mind was disturbed." And then you read the story about the poor bastard: his wife was sleeping with his best friend, he'd lost his job, his daughter had been killed in a road accident some months before.... Hello, Mr Coroner? Anyone at home? I'm sorry, but there's no disturbed mental balance here, my friend. I'd say he got it just right. Bad thing upon bad thing upon bad thing until you can't take any more, and then it's off to the nearest multi-storey car park in the family hatchback with a length of rubber tubing. Surely that's fair enough? Surely the coroner's inquest should read, "He took his own life after sober and careful contemplation of the fucking shambles it had become"?

Not once did I read a newspaper report, which convinced me that the deceased was off the old trolley. You know: "The Manchester United forward, who was engaged to the current Miss Sweden, had recently achieved a unique Double: he is the only man ever to have won the FA Cup and an Oscar for Best Actor in the same year. The rights to his first novel had just been bought for an undisclosed sum by Stephen Spielberg. He was found hanging from a beam in his stables by a member of his staff." Now, I've never seen a coroner's report like that, but if there were cases in which happy, successful, talented people took their own lives, one could safely come to the conclusion that the old balance was indeed wonky. And I'm not saying that being engaged to Miss Sweden, playing for Manchester United and winning Oscars inoculates you against depression - I'm sure it doesn't. I'm just saying that these things help. Look at the statistics. You're more likely to top yourself if you've just gone through a divorce. Or if you're anorexic. Or if you're unemployed. Or if you're a prostitute. Or if you've fought in a war, or if you've been raped, or if you've lost somebody..... There are lots and lots of factors that push people over the edge; none of these factors are likely to make you feel anything but fucking miserable.

Two years ago Martin Sharp would not have found himself sitting on a tiny concrete ledge in the middle of the night, looking a hundred feet down at a concrete walkway and wondering whether he'd hear the noise that his bones made when they shattered into tiny pieces. But two years ago Martin Sharp was a different person. I still had my job. I still had a wife. I hadn't slept with a fifteen-year-old. I hadn't been to prison. I hadn't had to talk to my young daughters about a front-page tabloid newspaper article, an article headlined with the word SLEAZEBAG! and illustrated with a picture of me lying on the pavement outside a well-known London nightspot. (What would the headline have been if I had gone over? "SLEAZY DOES IT!" perhaps. Or maybe "SHARP END!") There was, it is fair to say, less reason for ledge-sitting before all that happened. So don't tell me that the balance of my mind was disturbed, because it really didn't feel that way. (What does it mean, anyway, that stuff about "the balance of the mind"? Is it strictly scientific? Does the mind really wobble up and down in the head like some sort of fish-scale, according to how loopy you are?) Wanting to kill myself was an appropriate and reasonable response to a whole series of unfortunate events that had rendered life unlivable. Oh, yes, I know the shrinks would say that they could have helped, but that's half the trouble with this bloody country, isn't it? No one's willing to face their responsibilities. It's always someone else's fault. Boo-hoo-hoo. Well, I happen to be one of those rare individuals who believe that what went on with Mummy and Daddy had nothing to do with me screwing a fifteen-year-old. I happen to believe that I would have slept with her regardless of whether I'd been breast-fed or not, and it was time to face up to what I'd done. And what I'd done is, I'd pissed my life away. Literally. Well, OK, not literally literally. I hadn't, you know, turned my life into urine and stored it in my bladder and so on and so forth. But I felt as if I'd pissed my life away in the same way that you can piss money away. I'd had a life, full of kids and wives and jobs and all the usual stuff, and I'd somehow managed to mislay it. No, you see, that's not right. I knew where my life was, just as you know where money goes when you piss it away. I hadn't mislaid it at all. I'd spent it. I'd spent my kids and my job and my wife on teenage girls and nightclubs: these things all come at a price, and I'd happily paid it, and suddenly my life wasn't there any more. What would I be leaving behind? On New Year's Eve, it felt as though I'd be saying goodbye to a dim form of consciousness and a semi-functioning digestive system - all the indications of a life, certainly, but none of the content. I didn't even feel sad, particularly. I just felt very stupid, and very angry.

I'm not sitting here now because I suddenly saw sense. The reason I'm sitting here now is because that night turned into as much of a mess as everything else. I couldn't even jump off a fucking tower block without fucking it up.


On New Year's Eve the nursing home sent their ambulance round for him. You had to pay extra for that, but I didn't mind. How could I? In the end, Matty was going to cost them a lot more than they were costing me. I was only paying for a night, and they were going to pay for the rest of his life.

I thought about hiding some of Matty's stuff, in case they thought it was odd, but no one had to know it was his. I could have had loads of kids, as far as they knew, so I left it there. They came around six, and these two young fellas wheeled him out. I couldn't cry when he went, because then the young fellas would know something was wrong; as far as they knew, I was coming to fetch him at eleven the next morning. I just kissed him on the top of his head and told him to be good at the home, and I held it all in until I'd seen them leave. Then I wept and wept, for about an hour. He'd ruined my life, but he was still my son, and I was never going to see him again, and I couldn't even say goodbye properly. I watched the television for a while, and I did have one or two glasses of sherry, because I knew it would be cold out.

I waited at the bus stop for ten minutes, but then I decided to walk. Knowing that you want to die makes you less scared. I wouldn't have dreamed of walking all that way late at night, especially when the streets are full of drunks, but what did it matter now? Although then, of course, I found myself worrying about being attacked but not murdered - left for dead without actually being dying. Because then I'd be taken to hospital, and they'd find out who I was, and they'd find out about Matty, and all those months of planning would have been a complete waste of time, and I'd come out of hospital owing the home thousands of pounds, and where was I going to find that? But no one attacked me. A couple of people wished me a Happy New Year, but that was about all. There isn't so much to be afraid of, out there. I can remember thinking it was a funny time to find that out, on the last night of my life; I'd spent the rest of it being afraid of everything.

I'd never been to Topper's House before. I'd just been past it on the bus once or twice. I didn't even know for sure that you could get onto the roof any more, but the door was open, and I just walked up the stairs until I couldn't walk any further. I don't know why it didn't occur to me that you couldn't just jump off whenever you felt like it, but the moment I saw it I realised that they wouldn't let you do that. They'd put this wire up, way up high, and there were curved railings with spikes on the top...well, that's when I began to panic. I'm not tall, and I'm not very strong, and I'm not as young as I was. I couldn't see how I was going to get over the top of it all, and it had to be that night, because of Matty being in the home and everything. And I started to go through all the other options, but none of them were any good. I didn't want to do it in my own front room, where someone I knew would find me. I wanted to be found by a stranger. And I didn't want to jump in front of a train, because I'd seen a programme on the television about the poor drivers and how suicides upset them. And I didn't have a car, so I couldn't drive off to a quiet spot and breathe in the exhaust fumes…;.

And then I saw Martin, right over the other side of the roof. I hid in the shadows and watched him. I could see he'd done things properly: he'd brought a little step-ladder, and some wire cutters, and he'd managed to climb over the top like that. And he was just sitting on the ledge, dangling his feet, looking down, taking nips out of a little hip flask, smoking, thinking, while I waited. And he smoked and he smoked and I waited and waited until in the end I couldn't wait any more. I know it was his step-ladder, but I needed it. It wasn't going to be much use to him. I never tried to push him. I'm not beefy enough to push a grown man off a ledge. And I wouldn't have tried anyway. It wouldn't have been right; it was up to him whether he jumped or not. I just went up to him and put my hand through the wire and tapped him on the shoulder. I only wanted to ask him if he was going to be long.


Before I got to the squat, I never had any intention of going onto the roof. Honestly. I'd forgotten about the whole Toppers House thing until I started speaking to this guy. I think he fancied me, which isn't really saying much, seeing as I was about the only female under thirty who could still stand up. He gave me a fag, and he told me his name was Bong, and when I asked him why he was called Bong he said it was because he always smoked his weed out of a bong. And I went, Does that mean everyone else here is called Spliff? But he was just, like, no, that bloke over there is called Mental Mike. And that one over there is called Puddle. And that one over there is Nicky Turd. And so on, until he'd been through everyone in the room he knew.

But the ten minutes I spent talking to Bong made history. Well, not history like 55BC or 1939. Not historical history, unless one of us goes on to invent a time machine or stops Britain from being invaded by Al-Qaida or something. But who knows what would have happened to us if Bong hadn't fancied me? Because before he started chatting me up I was just about to go home, and Maureen and Martin would be dead now, probably, and....well, everything would have been different.

When Bong had finished going through his list, he looked at me and he went, You're not thinking of going up on the roof, are you? And I thought, not with you, stoner-brain. And he went, because I can see the pain and desperation in your eyes. I was well pissed by that time, so looking back on it, I'm pretty sure that what he could see in my eyes were seven Bacardi Breezers and two cans of Special Brew. I just went, Oh, really? And he went, Yeah, see, I've been put on suicide watch, to look out for people who've only come here because they want to go upstairs. And I was like, What happens upstairs? And he laughed, and went, You're joking, aren't you? This is Toppers House, man. This is where people kill themselves. And I would never have thought of it if he hadn't said that. Everything suddenly made sense. Because even though I'd been about to go home, I couldn't imagine what I'd do when I got there, and I couldn't imagine waking up in the morning. I wanted Chas, and he didn't want me, and I suddenly realised that easily the best thing to do was make my life as short as I possibly could. I almost laughed, it was so neat: I wanted to make my life short, and I was at a party in Toppers' House, and the coincidence was too much. It was like a message from God. OK, it was disappointing that all God had to say to me was, like, Jump off a roof, but I didn't blame Him. What else was he supposed to tell me?

I could feel the weight of everything then - the weight of loneliness, of everything that had gone wrong. I felt heroic, going up those last few flights to the top of the building, dragging that weight along with me. Jumping felt like the only way to get rid of it, the only way to make it work for me instead of against me; I felt so heavy that I knew I'd hit the street in no time. I'd beat the world record for falling off a tower block.

What People are Saying About This

From the Publisher
"A dramatic, sad and thoroughly side-splitting novel." —Newsday

"Wildly enjoyable. A daring high-wire act. It's serious literature...no, it's popular entertainment...no, it's both!" —Seattle Times

"Time's stealthy tread, its unseen ability to heal some wounds while inflicting others, gives Nick Hornby's darkly comic new novel, A Long Way Down, its genuine power." —San Francisco Chronicle

Meet the Author

NICK HORNBY is the author of the internationally bestselling novels High Fidelity, About a Boy, A Long Way Down, Slam, Juliet, Naked, and Funny Girl, as well as several works of nonfiction. He lives in London.

Brief Biography

Date of Birth:
April 17, 1957
Place of Birth:
Redhill, Surrey, England
Jesus College, Cambridge University

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Long Way Down 3.7 out of 5 based on 0 ratings. 88 reviews.
Guest More than 1 year ago
Ok...I waited a long time for this book, and i was somewhat dissappointed. Don't get me wrong, Nick Hornby is a great author, i love all his other books, but this one wasn't what i thought it would be.It started out great but....it kind of lingered down at the end. Maybe my expectations were high when i was reading it, of course it had some pretty funny but dark moments, but i would not recommend this book for newcomers to Nick Hornby.
hutchers More than 1 year ago
I have seen Hornby's movies and have thoroughly enjoyed them so I thought I would try one of his Novels. Sadly, I was disappointed. I, at first, was entertained by the odd nature of the characters and the plot, but quickly became bored and annoyed with both. I think his attempts to be original were successful and his diction was easy to read but as the story itself progressed I began to resent the book. He may have achieved a well worded book, but the actual plot and story were unreliable and somewhat boring. There were positive parts to the book, Hornby's use of humor and allusions to pop culture helped move the book along and he easily portrayed selfish and flawed characters, but I was unable to find a connection, relate to or even like any of these characters. I was hoping for a meaningful ending, perhaps even an epiphany for the characters, but once again I found myself disappointed. For me, even though they may have suffered slight change the characters were stagnant. I saw little change in this novel and I think despite his efforts to create a realistic and relatable work, Hornby fell flat.
Anonymous More than 1 year ago
I thought the book would be more riveting. Hoping the movie is better...
Anonymous More than 1 year ago
Not as good as his other works. Didn't pull me in as I hoped it would have.
Guest More than 1 year ago
Four strangers meet up at midnight on New Year's Eve at the top of Topper's House, a 15-story apartment complex in North London. They all have their reasons, some more unlikely than others. The most interesting one is Martin, a host for morning television who was jailed and gossiped by the tabloids for sleeping with a 15-year-old. Maureen is a middle-aged mother of a disabled adult son. Jess is the daughter of a government official, depressed over a breakup with her boyfriend. Then, there's JJ. JJ is American. He delivers pizza for a living but he reads books. A Long Way Down is told simultaneously by all four characters while still moving the story along. The true-to-life dialogue makes the story more exciting. It takes this band of people an hour just to get off of Topper's House but after a short interlude to Shoreditch for the quartet to chase down Jess' beleaguered boyfriend, they make a pact to do not do anything harmful for six weeks. In a very funny twist, the press gets wind of the whole suicide thing and suddenly they're all faced with headlines like 'Martin Sharp and Junior Minister's Daughter In Suicide Pact.' Now they're faced not only with their own midnight thoughts but a shouting mob of aggressively invasive journalists and photographers. Hiding out in Starbuck's, they form a book club and vowed to only read writers that have committed suicide. They manage to get it together long enough to take a trip to the Canary Islands that ends in a disaster. They also finally get to see someone take the long way down from Topper's House.
Anonymous More than 1 year ago
Its different and its good if you have ever had thoughts or been close to someone who has had thoughts about suicide.
Anonymous More than 1 year ago
hilarious piece of work. this is the first book i actually remember reading because how funny it is
Guest More than 1 year ago
Starts out well, but seems to lose steam about halfway through. I admit I didn't finish it, so maybe it ended with a bang. I listened to the audio, which was fun, because there were three different readers. Can't say I really recommend this one, though.
Chrissy_W More than 1 year ago
Did I enjoy this book: There’s got to be at least one character in a book that I care about. I was slogging through a modern classic–I won’t name it here–with the least likable set of characters I’d ever encountered. I pushed through to the halfway mark, and then I said, “Why am I doing this? I’m going to find a novel whose people touch my heart.” I was lucky enough to pick up Nick Hornby’s A Long Way Down. I really enjoyed the book. The cover of my copy of A Long Way Down shows four pairs of shoes hovering over a blue sky. The wing tips are fallen talk show host Martin’s. The comfortable oxfords are 51-year-old Maureen’s. Teenaged smart-mouth Jess owns the black Keds (and the red socks), and the boots belong to rock star wannabe JJ. These four unlikely compatriots meet atop Topper’s Tower in London one New Year’s Eve. Each climbs to the roof alone, intending to jump and end a life that no longer has meaning. They come down in a pack, on a mission to find Jess’s erstwhile boyfriend. Then, mission accomplished, they find they can neither break their connection nor complete their original mission. The book is told in all four voices, so we get inside each of their heads–miserable screw-up Martin, who had it all and lost it via his own stupidity; self-effacing Maureen, whose life has been spent caring for a son so disabled he has no awareness; the jilted Jess, whose sister is missing–a probable suicide; and musician JJ, who lost his band, his love, and his will to live. This band of misfits screws up regularly and sometimes spectacularly. They’re drifty and lunatic, self-centered and clueless, and yet–I care about each one. Would I recommend it: I recommend A Long Way Down if you want a funny book with likable characters that admits to hope. Don’t look for saccharine, though–true love doesn’t come waltzing through the door, nor do the foolish become wise with the flash of a Hogwarts’ wand. But people on the wrong course do manage, with determination and an odd kind of courage, to turn their baggage-heavy ships. They get by,–yes, they do,–with a little help from their odd cast of friends. As reviewed by Pam at Every Free Chance Books.
lildirtydesigner More than 1 year ago
Meh! If life gives you lemons, you make lemonade? In this case, Nick Hornby should have added vodka and mix up this slow read into something a little more believable than mediocre. Well I am a bit disappointed in this book and the only redeeming factor is the character Maureen. JJ was my second favorite and Jess and Martin are totally pointless. How can I review this book other than just to say wait for the movie (hopefully the movie will be better). Four strangers/individuals meet up on top of a fifteen-story building on New Year's Eve to end their lives, what happens next is an unlikely friendship of these four people on what happens when you don't die. Each character has reasons on why they want to die and why their lives are at the end of their rope. And each of them received a lifeline of each other. This book has good moments and at the end you want to believe that life isn't as bad as it is. Yes, there are some bad times in life but reach out to someone/anyone and you will see that life isn't as bad as it looks. I didn't need to read that to understand that life goes on.
Anonymous More than 1 year ago
Anonymous More than 1 year ago
Too mant commas. I had a very hard time finishing this book. Not because of the story the writing was hard ti follow. Hope he movie is better.
Anonymous More than 1 year ago
KatrinaO More than 1 year ago
Four people found themselves commonly attempting to commit suicide on the same roof and then shifted to finding valuable friendship with each other instead. Stories of loss, depression and frustration of each of them and the unexpected cure from the bond of friendship were narrated.  Let second chances be an option. :)
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Thorne2112 More than 1 year ago
Although it's not as good as About a Boy or High Fidelity, A Long Way Down is at least better than How To Be Good. Here Nick Hornby presents a story about people who just aren't quite ready to commit suicide, especially among each other.
Anonymous More than 1 year ago
Anonymous More than 1 year ago
One of my favorite books by my favorite author. Hornby's writing style is like a witty commentary on day to day life, but in this particular work he really shines.
Anonymous More than 1 year ago
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Anonymous More than 1 year ago
A thought provoking book, and even though I read it years ago, I have it on my wishlist to read again!
Anonymous More than 1 year ago