Author:Patrick White,David Malouf

WITH AN INTRODUCTION BY DAVID MALOUF
Through the crumbling ruins of the once splendid Xanadu, Miss Hare wanders, half-mad. In the wilderness she stumbles upon an Aborigine artist and a Jewish refugee. They place themselves in the care of a local washerwoman. In a world of pervasive evil, all four have been independently damaged and discarded. Now in one shared vision they find themselves bound together, understanding the possibility of redemption.
[A] monumental work [of more than] half a thousand pages -- almost every one of which cries out for quotation
—— New York TimesRiders in the Chariot is the most compassionate and the most beautiful of all Patrick White’s works; colours fly everywhere; his words, comic, ecstatic, are like the brushstrokes on a canvas
—— Carmen Callil and Colm Tóibín , The Modern Library: The 200 Best Novels in English Since 1950This is a book which really defies review; for its analysable qualities are overwhelmed by those imponderables which make a work 'great' in the untouchable sense. It must be read because, like Everest, 'it is there'.
—— GuardianThe outstanding figure in Australian fiction
—— New York TimesStands out among contemporary novelists like a cathedral surrounded by booths. Its forms, its impulse and its dedication to what is eternal all excite a comparison with religious architecture
—— Sunday TimesA mysterious central character, stunning writing and an ending that will leave you reeling makes The Other Typist the kind of book you can't get out of your head
—— Good HousekeepingI was absolutely gripped, I loved it
—— Alex Heminsley , The Claudia Winkleman Arts Show, BBC Radio 2The tension slowly rises as Rose is inextricably wrapped up in Odalie's strange world - one in which this glamorous stranger constantly reinvents her past
—— Daily ExpressAn intense psychological thriller that will appeal to fans of Notes on a Scandal
—— Sunday MirrorTake a dollop of Alfred Hitchcock, a dollop of Patricia Highsmith, throw in some Great Gatsby flourishes, and the result is Rindell's debut, a pitch-black comedy about a police stenographer accused of murder in 1920s Manhattan . . . deliciously addictive
—— Kirkus ReviewsA genuinely delightful, witty page turner, full of surprises
—— Diva