A chance airport meeting between strangers sets in motion a Strangers on a Train-inspired murder plot. During a delay at Heathrow, wealthy Boston businessman Ted Severson shares drinks with fellow American Lily Kintner, an archivist at a small Massachusetts college. One thing leads to another, but instead of sleeping together, the two confess their deepest secrets: Ted wants to kill his two-timing wife, Miranda, and Lily wants to help him. In case the Patricia Highsmith connection isn't blatant enough, Swanson (The Girl With a Clock for a Heart, 2014) shows Lily reading The Two Faces of January—"not one of her best"—in the airport. While the title implies that Ted's (and Lily's) enemies are the kind worth killing, the reader almost immediately decides it's the cold, heartless protagonists who should ultimately get the ax. Miranda is indeed cheating on Ted with Brad Daggett, the handsome and dim contractor who's building the couple's extravagant Maine vacation home, yet it's hard to feel sorry for a man who tells a complete stranger that he fantasizes about killing his spouse, let alone a woman who openly encourages such behavior. Lily's past is slowly, predictably revealed, and we discover her penchant for violence, but instead of making her character more complex, it merely becomes another layer of frustration. While there are twists, most of them are so clearly telegraphed that only the most careless of readers won't see what's coming, especially since Swanson needlessly doubles back over the same events from different points of view.
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.
Chilling and hypnotically suspenseful … could be an instant classic.
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.
A twisty tale of warring sociopaths [and] a good companion to similar stories by Laura Lippman and Gillian Flynn.
A devilishly twisty plot, with some gasp-inducing moments. And the ending is terrific.
[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.
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.
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.
A wicked tale full of wicked characters... Sublime writing and more than a few sit-up-straight surprises.
Gripping, elegantly and stylishly written, and extremely hard to put down!
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.
A terrifically hypnotic page-turner that marks Peter Swanson as an exciting new talent.
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.
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.
[There are] many surprises in a plot that twists and turns like a jack-knife.
A dark tale of an affair that ends in murder, with a number of Gone Girl-esque twists along the way.
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.
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.
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.
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.
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.
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.
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.
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.
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.