An intensely powerful new novel from the best-selling author of The Bastard of Istanbul and Honour - available for pre-order now
'One of the best writers in the world today' Hanif Kureishi
'Haunting, moving, beautifully written - and based by an extraordinary cast of characters who capture the diversity of modern Turkey. A masterpiece' Peter Frankopan
'In the first minute following her death, Tequila Leila's consciousness began to ebb, slowly and steadily, like a tide receding from the shore. Her brain cells, having run out of blood, were now completely deprived of oxygen. But they did not shut down. Not right away...'
For Leila, each minute after her death brings a sensuous memory: the taste of spiced goat stew, sacrificed by her father to celebrate the long-awaited birth of a son; the sight of bubbling vats of lemon and sugar which the women use to wax their legs while the men attend mosque; the scent of cardamom coffee that Leila shares with a handsome student in the brothel where she works. Each memory, too, recalls the friends she made at each key moment in her life - friends who are now desperately trying to find her. . .
'Simply magnificent, a truly captivating work of immense power and beauty, on the essence of life and its end.' Philippe Sands
'One of the most important writers at work today' Independent
'A vivid carnival of life and death, cruelty and kindness, love, politics and deep humanity. This is only possible in the hands of a consummate storyteller. Elif Shafak's lyrical command of language and narrative is breathtaking. Brilliant!' Helena Kennedy
'Elif Shafak brings into the written realm what so many others want to leave outside. Spend more than ten minutes and 38 seconds in this world of the estranged. Shafak makes a new home for us in words' Colum McCann
'Elif Shafak's extraordinary 10 Minutes, 38 Seconds in this Strange World is a work of brutal beauty and consummate tenderness' Simon Schama
'A rich, sensual novel... This is a novel that gives voice to the invisible, the untouchable, the abused and the damaged, weaving their painful songs into a thing of beauty.' Financial Times
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