Here are some quotes from articles that acclaimed her in the past few weeks:
»We are often drawn into Highsmith’s claustrophobic world like flies tentatively exploring the gossamer strands of a spider’s web.«
Andrew Wilson / The Sunday Times, London
»When you read one of Highsmith’s stories, you’ve given her permission to follow you, catch you, take you apart. Get ready to run.«
Carmen Maria Machado / The Guardian, London
»Reading her is like having a devil on your shoulder arguing that decency and good citizenship are boring and cowardly, and so compellingly that you’ve acquiesced before you know it.«
Jake Kerridge / The Telegraph, London
»Her works keep their powerful attraction intact, the sensation that we are drawn closer to the abyss from which we are trying to run away from.«
Guillermo Altares / El País, Madrid
»Nobody describes the horror of murder more vividly.«
Nando Salvà / El Periódico, Barcelona
»With a concise and minimalistic style, inspired by Maupassant, Highsmith draws a character who is the pinnacle of the inversion of values postulated by Nietzsche and who tramples traditional values.«
Rafael Narbona / El Cultural, Madrid
»She revolutionized the detective novel by inventing the psychological thriller – just after the Second World War.«
Élise Lépine / Alibi, Paris
»Highsmith wanted to show the murderers, almost murderers and murder fantasists from the inside because it rarely shows from the outside.«
Jürgen Kaube / Frankfurter Allgemeine Sonntagszeitung, Frankfurt
»Truly, Highsmith, who was an avid reader of Dostoevsky and Kierkegaard, illuminates the shimmering shades of good and evil.«
Maike Albath / Süddeutsche Zeitung, Munich
»Highsmith's unfathomable nature is every bit as deep as Fyodor Dostoevsky or Joseph Conrad’s hellscapes.«
Jan Wilm / Neue Zürcher Zeitung, Zurich
»The constant inner apprehension, which one is subject to while reading, does not end after the last sentence.«
Linda Stift / Die Presse am Sonntag, Vienna
»She was also the first to make short work of the hitherto almost sacred dualism of good and bad, and cancelled out the traditional ending.«
Charles den Tex and Anneloes Timmerije / De Volkskrant, Amsterdam