Promotional Information

From bestselling author Mark Haddon comes a wild adventure of a novel that transports the reader from the present day to ancient times and back again - 'a breathless, delightful, utterly absorbing read' (Guardian)

About the Author

Mark Haddon is one of our most imaginative storytellers, whose work has been read and enjoyed by millions. In his most recent book, The Pier Falls ('Superbly gripping', Sunday Times), he reworked two mythical legends - Ariadne on Naxos and Gawain and the Green Knight - and turned them into startling contemporary stories. In The Porpoise he takes on the epic tale of Pericles, Prince of Tyre, to stunning dramatic effect.

Reviews

Wondrous... a violent, all-action thrill ride shuttling between antiquity and the present... just downright brilliant... a transcendant, transporting experience... A helix, a mirror ball, a literary box of tricks… take your pick: this is a full-spectrum pleasure, mixing metafictional razzmatazz with pulse-racing action and a prose style to die for. I’ll be staggered if it’s not spoken of whenever prizes are mentioned this year
*Observer*

A beautifully rendered retelling…[and] a gripping novel that, despite its rollicking plot, never feels relentless, and is often very affecting indeed
*Financial Times*

The extraordinary force and vividness of Haddon's prose ensure that The Porpoise reads [...] as a continually unfolding demonstration of the transporting power of stories... This is language that knows how to do things: sail a ship, make a gold buckle, negotiate the tides of the Thames. It's a stunningly effective combination of the quotidian and the mythic that pins impossibility to the page
*Guardian*

Compelling, satisfying and moving... Haddon's writing is exquisite, balancing simple storytelling with searing insight
*Metro*

The Porpoise is terrifically violent, with a bright, innocent ferocity … Haddon wants to restore agency to the female characters sidelined by the Antiochus legend. This could feel like a condescending attempt to end up on the right of history, but doesn’t
*The New Yorker*