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I'm thinking of ending things / by Iain Reid.

By: Reid, Iain, 1981- [author.].
Material type: materialTypeLabelBookPublisher: Melbourne, Vic. : The Text Publishing Company, 2016Copyright date: ©2016Description: 210 pages ; 24 cm.Content type: text Media type: unmediated Carrier type: volumeISBN: 9781925355079 (paperback); 1925355071 (paperback); 9781911231042; 1911231049.Genre/Form: Psychological fiction. | Thrillers (Fiction)DDC classification: 813.6 Summary: Jake and a woman known only as The Girlfriend are taking a long drive to meet his parents at their secluded farm. But when Jake takes a sudden detour, leaving The Girlfriend stranded at a deserted high school, the story transforms into a twisted combination of the darkest unease, psychological frailty, and a look into the limitations of solitude.
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Enhanced descriptions from Syndetics:

Jake and his girlfriend are on a drive to visit his parents at their remote farm. After dinner at the family home, things begin to get worryingly strange. And when he leaves her stranded in a snowstorm at an abandoned high school later that night, what follows is a chilling exploration of psychological frailty and the limitations of reality.
Iain Reid's intense, suspenseful debut novel will have readers' nerves jangling. A series of tiny clues sprinkled through the relentlessly paced narrative culminate in a haunting twist on the final page.
Reminiscent of Michael Faber's Under the Skin , Stephen King's Misery and the novels of Jose Saramago, I'm Thinking of Ending Things is an astonishing and highly original literary thriller that grabs you from the start-and never lets go.

' I'm Thinking of Ending Things is one of the best debut novels I've ever read. Iain Reid has crafted a tight, ferocious little book, with a persistent tenor of suspense that tightens and mounts toward its visionary, harrowing final pages.' Scott Heim, author of Mysterious Skin and We Disappear
' I'm Thinking of Ending Things is an utterly compelling modern Gothic that stakes its claim in the inner precincts of horror. Reid builds tension the way Edgar Allen Poe builds brick walls in his basement.' Wayne Grady, author of Emancipation Day

Jake and a woman known only as The Girlfriend are taking a long drive to meet his parents at their secluded farm. But when Jake takes a sudden detour, leaving The Girlfriend stranded at a deserted high school, the story transforms into a twisted combination of the darkest unease, psychological frailty, and a look into the limitations of solitude.

Excerpt provided by Syndetics

I'm thinking of ending things.

Once this thought arrives, it stays. It sticks. It lingers. It dominates. There's not much I can do about it. Trust me. It doesn't go away. It's there whether I like it or not. It's there when I eat. When I go to bed. It's there when I sleep. It's there when I wake up. It's always there. Always. 

Excerpted from I'm Thinking of Ending Things by Iain Reid All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

Reviews provided by Syndetics

Library Journal Review

It's snowing, and the unnamed narrator is traveling with her new boyfriend Jake to visit his parents at the family farm. The novel's vague title seems to become clearer as the narrator repeatedly ponders calling off their relationship. While this revelation may not have arrived at the best of times, it's quickly apparent that a failed relationship is the least of her problems. When the couple arrives at their destination, Jake's parents are awkward, and the evening goes from strange to unsettling as the narrator explores the setting of Jake's childhood. When the pair drive home, the weather takes a turn for the worse. Jake turns off the highway and parks by an empty high school. He goes inside, leaving the narrator alone and frightened. When she enters the building, her vague sense of foreboding turns into outright terror. Interspersed throughout are snatches of conversation about some unknown act of violence that only heightens the feeling of unease. VERDICT This slim first novel packs a big psychological punch with a twisty story line and an ending that will leave readers breathless. [See Prepub Alert, 11/30/15; previewed in Erica Neubauer's 2016 Mystery Preview "Edge-of-Your-Seat Thrills," LJ 4/15/16.]-Portia Kapraun, Delphi P.L., IN © Copyright 2016. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Review

Nonfiction author Reid (The Truth About Luck) fuses suspense with philosophy, psychology, and horror in his unsettling first novel set in an unspecified locale. When Jake takes his unnamed new girlfriend to meet his parents, he doesn't realize she's thinking of "ending things" (just what she might end is at first unclear). Dinner at the family farm proves awkward, reinforcing her doubts about their relationship. On their way home, the weather turns nasty and Jake pulls off the road at a darkened high school. He takes the keys and exits the car, but never returns, leaving his girlfriend little choice but to strike out after him. While the events preceding the couple's separation have the air of a disquieting dream, those that follow are the stuff of nightmares. Stream-of-consciousness narration by Jake's girlfriend adds to the story's surreal quality, and occasional blocks of unattributed dialogue about an unspecified tragedy impart dread. Capped with an ending that will shock and chill, this twisty tale invites multiple readings. Agent: Samantha Haywood, Transatlantic. (June) © Copyright PWxyz, LLC. All rights reserved.

Booklist Review

*Starred Review* The narrator of the story is a nameless young woman who is in a newish relationship with Jake, but she has some doubts about where it's going and is thinking about ending things. Their relationship is based on a shared communication style, which moves to the physical, but it is their philosophical conversations that truly move the relationship along. Jake invites the narrator to go home to meet his parents and see the farm where he grew up in a remote village. The family dinner is odd, but the ride back home even more so, with detours to a Dairy Queen staffed by giggling girls and to a dark, deserted high school. This is a powerfully atmospheric book, and the cold, snowy night really ups the creepy factor, as the story grows more diabolical and dangerous with each turn of the page. The narrative is written in the first person, though it's interspersed with an occasional page from a parallel story from a different point of view, and eventually it appears that the two stories will converge. These characters are carefully developed and the plot takes some frightening turns, leading to a shocking ending. The construct of this book is brilliant and unusual and should appeal to fans of psychological thrillers, as well as to some horror fans. A dark and compelling debut novel, it is a most uncomfortable read but utterly unputdownable.--Alesi, Stacy Copyright 2016 Booklist

Kirkus Book Review

A road trip in a snowstorm takes a sinister turn for a man and his girlfriend, the novel's unnamed narrator. Reid's preternaturally creepy debut unfolds like a bad dream, the kind from which you desperately want to wake up yet also want to keep dreaming so you can see how everything fits togetheror, rather, falls apart. The narrator, known only as the girlfriend, is driving with her beau, Jake, a scientist, to meet his parents at the family farm. The relationship is new, but, as the title implies, she's already thinking of calling it quits. Jake is somewhat strange and fond of philosophizing, though the tendency to speak in the abstract is something that unites the pair. The weather outside turns nastier, and Reid intercuts the couple's increasingly tense journey with short interstitial chapters that imply a crime has been committed, though the details are vague. Matters don't improve when Jake and the narrator arrive at the farm, a hulking collection of buildings in the middle of nowhere. The meeting with her potential in-laws is as awkward as it is frightening, with Reid expertly needling the readerand the narratorinto a state of near-blind panic with every footfall on a basement step. On the drive back, Jake makes a detour to an empty high school, which will take the couple to new heights of the terrifying and the bizarre. Reid's tightly crafted tale toys with the nature of identity and comes by its terror honestly, building a wall of intricately layered psychological torment so impenetrable it's impossible to escape. Copyright Kirkus Reviews, used with permission.