Chilling and hypnotically suspenseful … could be an instant classic.” — Lee Child, author of Personal
“A fun read, full of switchbacks and double crosses… With classic misdirection, Swanson distracts us from the details - changing up murderers and victims fast enough to keep us reading. And, implausibly, rooting for the cold-blooded killer at this thriller’s core.” — Boston Globe
“A twisty tale of warring sociopaths [and] a good companion to similar stories by Laura Lippman and Gillian Flynn.” — Booklist
“Revenge has rarely been served colder than in Swanson’s exceptional thriller....With scalpel-sharp prose, Swanson probes the nature of coldblooded evil. Few will be prepared for the crushing climax.” — Publishers Weekly (starred review)
“A devilishly twisty plot, with some gasp-inducing moments. And the ending is terrific.” — Bookseller (UK)
“[Lily] becomes my favourite sociopath—and believe me, there are plenty of them in this very convincing, tightly-plotted novel of revenge and betrayal. . . . Very entertaining.” — Daily Mail (UK)
“A work of lovely violence and graceful malevolence, The Kind Worth Killing slips into your life like a stiletto in the ribs. This is a book that launches Peter Swanson straight into the ranks of the killer elite, alongside Tana French and Gillian Flynn. He’s the real deal.” — Joe Hill, author of NOS4A2
“Peter Swanson has updated Patricia Highsmith’s Strangers on a Train for the new millennium...This is a well written and highly accomplished thriller… You cannot fail to be captivated by this book.” — Tatler (UK)
“A wicked tale full of wicked characters... Sublime writing and more than a few sit-up-straight surprises.” — Huffington Post
“Gripping, elegantly and stylishly written, and extremely hard to put down!” — Sophie Hannah, author of The Monogram Murders and Kind of Cruel
“Filled with double-timers and double-crossers, cold-eyed stalkers and cold-blooded murderers, The Kind Worth Killing paints a riveting, disturbing picture of marriage gone horribly awry, with no shortage of startling surprises. If you’re engaged to get married, by all means read something else.” — Chris Pavone, author of The Expats
“A terrifically hypnotic page-turner that marks Peter Swanson as an exciting new talent.” — Good Housekeeping, Thriller of the Month (UK)
“From its initial nod to Strangers on a Train onwards, this is a homage to Patricia Highsmith, but in some ways it outdoes the queen of queasy in sheer nastiness. . . . [Swanson] continually juggles narrators and pulls off surprises.” — Sunday Times (UK)
“Nothing and no one are as they first appear in this deliciously twisted and devious thriller… A classy, slick and stiletto-sharp thriller that builds to a nerve-shredding climax.” — Sunday Mirror (UK)
“[There are] many surprises in a plot that twists and turns like a jack-knife.” — BBC Radio 4 (UK)
“A dark tale of an affair that ends in murder, with a number of Gone Girl-esque twists along the way.” — Shortlist (UK)
“An extraordinarily well-written tale of deceit and revenge told by a very gifted writer. . . . The characters [] seem normal on the outside, but are deliciously abnormal on the inside. The twists are not just in the plot; they are also in the heads of the plotters.” — Nelson DeMille
“Revenge has rarely been served colder than in Swanson’s exceptional thriller, his second standalone after 2013’s The Girl with a Clock for a Heart. . . . With scalpel-sharp prose, Swanson probes the nature of coldblooded evil. Few will be prepared for the crushing climax.” — Publishers Weekly (starred review)
“Might be first truly unputdownable book of 2015. . . . A whole plethora of gasping surprises and gutting reveals that’ll will keep you on the edge of the seat all to the end. . . . An addictive and seductive read. . . .Simply brilliant stuff.” — Upcoming4me.com
“The next Gone Girl? . . . There aren’t just two unreliable narrators, there are four. There isn’t just one enormous, game-changing twist. Try three. . . . You’ll also lose count of all the sociopaths . . . they’re each deranged but oh-so-compelling.” — Entertainment Weekly
“Grabbed me right from the beginning, and kept me hooked until the end. . . . The author did a great job pulling off a difficult challenge and writing style. The uniqueness of this, and the skill with which it was executed, made for a really great book.” — Mysteryplayground.net
“This devilishly clever noir thriller [has] head-spinning surprises that make it an intoxicating read. . . . The book will inevitably earn comparisons to Gone Girl. . . . This one makes good on the promise, right down to the chilling final paragraph.” — Fort Worth Star-Telegram
“Suspenseful twists and turns, expert pacing and a breathless race to a surprise ending. . . . [A] captivating, powerful thriller about sex, deception, secrets, revenge, the strange things we get ourselves wrapped up in, and the magnetic pull of the past.” — Shelf Awareness
“THE KIND WORTH KILLING . . . meets and exceeds the high-water mark that its predecessor established. . . . The floor underneath the novel doesn’t just shift, it turns upside down. . . . This top-notch thriller has enough twists and surprises for three books.” — Bookreporter.com
“His central premise may be borrowed from Strangers on a Train, but Swanson takes the notion in some truly startling directions, excelling in the vividly etched characterisation of his protagonists. . . . But what makes The Kind Worth Killing so enjoyable is the beautifully constructed plotting.” — Financial Times (UK)
“The Kind Worth Killing has made me fall in love with plot twists again. . . . A brilliantly written thriller with a heart of darkness, executed with great skill and style. Seriously impressive writing.” — Big Issue (UK)
“An intricate tale of murder planned and plans gone hopelessly awry. . . . There are Hitchockian overtones, as well as the sort of last-page narrative tweak that would undoubtedly bring a Mona Lisa smile to Sir Alfred’s usually taciturn countenance.” — BookPage
“The Year’s Best Fiction: Publishers now love to dub any sociopathic take on a broken marriage ‘the next Gone Girl.’ Swanson’s vicious little novel actually earns that comparison, but it has just as much in common with Patricia Highsmith [and] Raymond Chandler… So ruthlessly clever it’s criminal.” — Entertainment Weekly
