''Spellbinding . . . A seductive and arresting coming-of-age story hinged on Charles Manson, told in sentences at times so finely wrought they could almost be worn as jewelry . . . [Emma] Cline gorgeously maps the topography of one loneliness-ravaged adolescent heart. She gives us the fictional truth of a girl chasing danger beyond her comprehension, in a Summer of Longing and Loss.' - The New York Times Book Review '[ The Girls reimagines] the American novel . . . Like Mary Gaitskill's Veronica or Lorrie Moore's Who Will Run the Frog Hospital?, The Girls captures a defining friendship in its full humanity with a touch of rock-memoir, tell-it-like-it-really-was attitude.' - Vogue 'Debut novels like this are rare, indeed. . . . The most remarkable quality of this novel is Cline's ability to articulate the anxieties of adolescence in language that's gorgeously poetic without mangling the authenticity of a teenager's consciousness. The adult's melancholy reflection and the girl's swelling impetuousness are flawlessly braided together. . . . For a story that traffics in the lurid notoriety of the Manson murders, The Girls is an extraordinary act of restraint. With the maturity of a writer twice her age, Cline has written a wise novel that's never showy: a quiet, seething confession of yearning and terror.' - The Washington Post 'Outstanding . . . Cline's novel is an astonishing work of imagination-remarkably atmospheric, preternaturally intelligent, and brutally feminist. . . . Cline painstakingly destroys the separation between art and faithful representation to create something new, wonderful, and disorienting.' - The Boston Globe 'Finely intelligent, often superbly written, with flashingly brilliant sentences, . . . Cline's first novel, The Girls , is a song of innocence and experience. . . . In another way, though, Cline's novel is itself a complicated mixture of freshness and worldly sophistication. . . . At her frequent best, Cline sees the world exactly and generously. On every other page, it seems, there is something remarkable-an immaculate phrase, a boldly modifying adverb, a metaphor or simile that makes a sudden, electric connection between its poles. . . . Much of this has to do with Cline's ability to look again, like a painter, and see (or sense) things better than most of us do.' - The New Yorker 'Breathtaking . . . So accomplished that it's hard to believe it's a debut. Cline's powerful characters linger long after the final page.' - Entertainment Weekly (Summer Must List)'A mesmerizing and sympathetic portrait of teen girls.' - People (Summer's Best Books)'Cline's exquisite set pieces are the equal of her intricate unwinding of Evie's emotions . . . . The Girls isn't a Wikipedia novel, it's not one of those historical novels that congratulates the present on its improvements over the past, and it doesn't impose today's ideas on the old days. As the smartphone-era frame around Evie's story implies, Cline is interested in the Manson chapter for the way it amplifies the novel's traditional concerns. Pastoral, marriage plot, crime story-the novel of the cult has it all. You wonder why more people don't write them.' - New York Magazine 'Hypnotizing . . . [Cline's] eagle-eyed take on the churnings and pitfalls of adolescence-longing to be wanted, feeling seen, getting discarded-rarely misses its mark. In truth, it's this aspect of The Girls . . . that stays with us after Evie's whirlwind story concludes.' - San Francisco Chronicle 'Gorgeous, disquieting, and really, really good . . . [Cline's] prose conveys a kind of atmospheric dread, punctuated by slyly distilled observation. . . . What Cline does in The Girls is to examine, even dissect, these shifts between power and powerlessness that characterize a girl's coming of age. . . . Cline, born years after the events she explores, brings a fresh and disce