★ 2023-08-26
An ambitious scientist loses herself in her work—literally.
The government and citizens of San Siroco, California, believe Myrica Dynamics privatized the city’s crumbling subway system for the public good. In truth, Myrica did so to conceal Dr. Tamsin Rivers’ quest to develop a new communications protocol involving technological mirrors mounted in subterranean geodesic domes. Success means Tamsin will “revolutionize the world” and be recognized as a genius, but while early results look promising, there’s a problem. Since testing commenced, the city has been sinking three millimeters each week. More perplexingly, Tamsin’s basement has been sinking three centimeters each week—but unlike the rest of San Siroco, “not in a way that impacts the structural integrity of her home.” Tamsin hasn’t yet told anyone about her basement; nobody can definitively link the city’s subsidence with her research, and she doesn’t want Myrica to draw premature conclusions and shut things down. Tamsin begins working from home, hoping the cellar can provide answers; instead, a door appears from which a Tamsin doppelgänger emerges. At first Tamsin’s double, “Prime,” seems sweet and accommodating, but as Tamsin starts losing both time and memories and Prime becomes more assertive, Tamsin regrets her secretive tendencies. Part existential horror, part speculative fiction, and part paranoia tale, Starling’s latest thrills and chills while exploring the contextual nature of identity and the concept of personhood. Diabolical plotting, relentless pacing, and ascetic worldbuilding function in tandem with Starling’s staccato present-tense narration to maximize tension and drive.
At once visceral and introspective.
"A taut, ominous gothic that plays with preconceptions of gender and genre alike. Starling illuminates her characters brilliantly, and isn't afraid of the dark corners behind them. This book runs like clockwork but it's unpredictable too, unnervingly so, like a machine finely calibrated to self-destruct. It reads like Shirley Jackson writing an episode of Severance." Isaac Fellman, author of Dead Collections and The Two Doctors Górski.
"A stylish and chilling technothriller, Last to Leave the Room had me rapt at every page. Starling once again succeeds with this tense, atmospheric tale of genius and hubris, one that will have readers question their sense of identity until the chilling end." Victor Manibo, author of The Sleepless
"No two Caitlin Starling books are the same, save for their intelligence, imagination, and compulsive readability. But with Last to Leave the Room, Starling has outdone herself. If, by the end of Chapter 3, you're not *desperate* to know what happens next, you're as baffling as non-Euclidean geometry." Nat Cassidy, author of Mary: An Awakening of Terror and Nestlings
"A mad-scientist cautionary tale cloaked in unflinching dread, to read this book is to creep down the basement stairs in the dark toward bone-deep uncertainty. Last to Leave the Room is a page-turning genre-buster, carefully plotted and deeply frightening, with unexpected heart. I loved every moment."
—Katrina Monroe, author of They Drown Our Daughters
"A bow-taut psychological thriller, a virtuoso science fiction tale, and above all an unsqueamish exploration of identity, ambition, cruelty and memory. It's a terrifying combination of tension and imagination that could only have come from the mind of Caitlin Starling no one else working in speculative fiction could have executed this with such style and confidence."
— Nebula award-winning author Premee Mohamed
"Caitlin Starling's Last to Leave the Room is a masterclass in narrative tension. This is a terrifyingly compelling work of scifi horror that was impossible to look away from, even when I wanted to read with my hands mostly covering my eyes."
—Kat Howard, Alex Award-winning author of An Unkindness of Magicians
"Last to Leave the Room is a singularly fascinating book. Starling is a genius for the horrors of the physical and the interpersonal, and this book marries those two unique nightmares brilliantly." Sarah Gailey, award-winning author of Just Like Home
“Caitlin Starling’s Last to Leave the Room is a twisty, reality-warping powerhouse of a novel. Absolutely riveting!” -Jonathan Maberry, NY Times bestselling author of Kagen the Damned and Cave 13
"Last to Leave the Room is unpretentious and incredibly readablethe kind of book that monopolizes your attention until you realize you've missed your bus stop. I think I finished it in two sittings, and I had fun, despite the fact it tickles that deep and terrified part of our lizard brains that recognizes the instability of our own identities, and deeply resents all the other, better versions of ourselves we could've been. Also, I'm a sucker for gruesome eyeball stuff." - Hiron Ennes, author of Leech
"Part existential horror, part speculative fiction, and part paranoia tale, Starling’s latest thrills and chills while exploring the contextual nature of identity and the concept of personhood. Diabolical plotting, relentless pacing, and ascetic worldbuilding function in tandem with Starling’s staccato present-tense narration to maximize tension and drive. At once visceral and introspective.” - Kirkus, starred review
"Her most original, compelling, and terrifying novel yet.” - Booklist, starred review
“The action is pulse-pounding." - Publishers Weekly
"It’s psychological horror at its most terrifying, the kind of writing that makes you stop to question—just for a moment—how well you know your own mind and your own world... Last to Leave the Room will deeply unsettle readers as it asks two existentially fraught questions: What exactly makes you, you? And who are you when all that is stripped away” - Bookpage