The Life and Death of Sophie Stark

Enhanced descriptions from Syndetics:

'If The Girl on the Train was the woman of 2015, then Sophie Stark is this year's model. Anna North's novel, The Life and Death of Sophie Stark , has been a hit in America, with Lena Dunham describing its protagonist as a "totally unforgettable female antihero". Out now - soon every girl on every train will be reading it' Sunday Times

Who is the real Sophie Stark?

The Life and Death of Sophie Stark is the story of an enigmatic film director, told by the six people who loved her most. Brilliant, infuriating, all-seeing and unknowable, Sophie Stark makes films said to be 'more like life than life itself'. But her genius comes at a terrible cost: to her husband, to the brother she left behind, and to an actress who knows too much.

With shades of We Are All Completely Beside Ourselves , A Visit from the Goon Squad and Where'd You Go, Bernadette , it combines a uniquely appealing sensibility with a compulsively page-turning plot.

'Thriller-paced, with mysteries revealed at every turn. The great mystery at the centre is Sophie Stark, a totally unforgettable female anti-hero who conforms to absolutely none of our expectations and suffers deeply for it ' Lena Dunham

'North is a natural, butter-smooth storyteller' Maggie Shipstead, author of SEATING ARRANGEMENTS

'I read THE LIFE AND DEATH OF SOPHIE STARK with my heart in my mouth. Not only a dissection of genius and the havoc it can wreak, but also a thunderously good story' Emma Donoghue, author of ROME

'Jennifer Egan, eat your heart out' Sam Baker

'A captivating portrait of the artist as a young woman. It's a story that examines the notion of artistic legacy and meditates on the ethics involved in film-making and storytelling' THE INDEPENDENT

'Gripping and graceful' THE GUARDIAN

'The year's must read' GLAMOUR

Excerpt provided by Syndetics

Allison   When Sophie first saw me, I was onstage. This girl Irina who I lived with at the time had organized a storytelling series at a bar in Bushwick, and after a couple weeks of watching I decided I wanted to tell a story too. I wasn't like the other kids in the house; I'd never assumed I'd be an actor or a writer or anything creative. When I was growing up, everybody figured I'd stay in Burnsville, West Virginia, and have some kids. But there I was in New York and for ten minutes I could make people listen to me and treat me like I was important. The theme that week was "scary camping stories." I was wearing my only pretty dress, a blue halter with a full skirt that I'd bought for seven dollars at a vintage store, and I got up onstage after some girl talked for twenty minutes about seeing a possum. Here's the story I told, the one that started everything for Sophie and me. My school had some good kids, Christian kids, kids who got married at eighteen before they started popping out babies. But my family was one hundred percent trash for five generations back, and I didn't fit in real well with the church crowd. Instead I used to hang out with this guy named Bean.   Bean was a couple years older than me, and he'd dropped out of high school to sell weed, and he made enough money to rent half a run-down old farmhouse outside of town. He was nice--he always shared his weed, especially with girls, and he'd give me a place to stay when things got bad at home. But he had an edge to him--his dad was a Marine and he had taught Bean this trick where you snap someone's neck in a single motion. And Bean always made you feel like you were so cool, part of this secret club with just him, and you wanted to do exactly what he said so you could be in the club forever.   I never saw a girl turn Bean down until he decided he was into Stacey Ashton. Stacey was my only friend who was a good girl. She was in the French club and she didn't smoke weed and she wanted to go to Emory someday--she had a sweatshirt from there and everything.   Maybe that's why Bean liked her, because she was so different. But she wasn't interested. He'd go up to her at a party and she'd just be polite and then turn away, talk to some other guy. It made Bean really angry. I'd never seen him mad before--things usually went so well for him. But now every time Stacey turned her back on him, he got that look on his face like pressure building up.   Bean convinced me to talk to Stacey for him--he said maybe she'd go out with him if we double-dated. I didn't like the weird, angry Bean, and I wanted to bring the happy one back. Plus, he promised me an eighth of weed. Stacey wasn't easy to sway--she kept saying he creeped her out, there was something off about him. I said she was crazy, everybody loved him--anyway, me and Tommy, this guy I was sort of dating, would be there the whole time. Finally I told her that if she didn't have fun, I'd buy her these butterfly earrings she liked at the mall. Stacey loved all that girly shit.   So Bean showed up that Friday and him and Stacey and me and Tommy drove to the campground where we usually went to drink and make out without anybody bothering us. There had been a lot of stories about this serial killer that summer, not in our area but in Virginia and North Carolina. He used a bowie knife to kill his victims, mostly girls in their teens or twenties. The paper called him "The Charlottesville Stabber," but we called him "Stabby," and whenever we went out in the woods, we'd tease each other that Stabby was going to get us. On the car ride I kept poking Stacey in the ribs to make her shriek, and then I'd yell "Stabby!" When we got there, we roasted hot dogs and drank beer and had a good time, and I could tell Stacey was kind of loosening up. Bean moved closer to her, and she didn't move away, and then he put his arm around her, and she didn't stop him. The night got colder, and she actually snuggled up against him a little bit. Then Bean winked at me, and I turned and started kissing Tommy, and I heard Bean say, "Let's go for a walk and give them a little privacy." Then I heard them both walk off toward the creek.   I didn't love Tommy but I liked fucking him, and since we both lived in houses full of kids and stepdads we were pretty used to doing it on the ground at the campsite or in the backs of pick-up trucks or on football fields or wherever we could get a minute to ourselves. So we were all sweaty and happy and pulling on our clothes when Bean came walking out of the bushes by himself with a look on his face I'd never seen before.   "We need to leave," he said.   "Why?" I asked. "What's the matter? Where's Stacey?"   "She went off to pee," he said, "and then I couldn't find her. I called and called. I looked all over."   "We can't just leave," I said.   I started calling Stacey's name.   Bean took my arm. He looked at me, and I saw fear in his eyes for the first time.   "I think we need to get the police," he said. "I mean, I'm sure she just got lost or something, but in case . . ."   He trailed off, but I knew what he meant. None of us wanted to bring up the Stabber's silly nickname. I told Bean to give me another minute, and I walked just a few steps outside the campsite, but I started to get scared, and we all drove to the police station where we told our stories to Officer Gray, who spent most of his time breaking up our parties or arresting my stepdad when he tried to drive home drunk from Red's on a Tuesday night.   The police searched with dogs for miles around the campsite, but they didn't find her body. Sometimes a thing like that brings people together, but this just blew the three of us apart. Tommy and I didn't hook up anymore after that night. Bean didn't come to high school parties anymore, and then he moved away without telling anybody or saying good-bye. The Stabber killed another victim, this one in South Carolina. I felt the joy drain out of me. I dropped out of high school, left my sisters and my brother to fend for themselves, and took a job waiting tables at a pasta restaurant in Charlottesville.   I'd been working there about six months when I saw in the news that they'd found Stacey's body. She'd washed up on the shore of Moncove Lake, about a half mile from the campsite. The police said it was probably the work of the Stabber, since Stacey fit the profile of his other victims. But they noticed a change in his MO--Stacey's neck had been snapped.   Another year passed. I turned twenty. I was just marking time in my life. And then--I remember it was a Friday, the restaurant was crowded with students ordering carafes of our gross wine--he showed up. He had a woman with him, a pretty, thin girl with strawberry-blond hair. She was well dressed, well cared for, nice skin and expensive shoes. She looked the way people look at that time in their relationship when they're absolutely sure the other person loves them and they haven't started to love that person any less yet. The hostess seated them at one of my tables, and I went to take their drink orders. I didn't even think about running away. I wanted to see what Bean ordered, what his girlfriend's voice sounded like. It was more than curiosity--as I walked over, I had the feeling of finishing something.   And then he saw me, and we looked right at each other for just a moment, and he didn't look frightened all. His face had no expression on it. For a second I thought he might pretend not to know me, but instead he smiled wide and said, "Allison! It's been forever."   "It has," I said. I didn't know what to say next. I hadn't thought beyond walking up to the table, looking at Bean, and seeing what he did.   "Allison was my best friend back in Burnsville. Allison, this is my fiancée, Sarah Beth."   Sarah Beth extended her hand and I saw the ring sparkling on the other one. Bean had come up in the world. He was wearing a sweater and a collared shirt. He looked like he had stopped dealing drugs.   "What are you doing here?" I asked him.   "Sarah Beth and I just bought a house in Sunflower Court," he said. "I'm working at Alton Kenney."   Alton Kenney was the biggest real-estate agency in Charlottesville. I looked at Sarah Beth and then back at Bean and thought: rich father-in-law, job, house, wife, life. I wasn't disgusted--I just felt like I'd slipped into some other universe, one that had even less justice than the one I'd grown up in. I felt like I was moving through water. I took their drink orders and told them about our specials and even remembered to smile. Bean smiled back. I went back and got the drinks--white wine for her, red for him-- and I took their meal orders and brought them their pasta, and then I went in the kitchen and stood for a minute staring at the wall.   That's when Bean found me. He touched my elbow--not hard, not a grab, just a tap--and he asked me if I'd come outside with him for a minute. I thought about whether he would kill me too, just snap my neck the way he'd snapped hers, but I didn't think he'd do that with his fiancée so close, sipping her wine and thinking he was normal. And I wanted to hear what he had to say. I let him lead me out to the parking lot.   "You know why I wasn't surprised to see you?" he asked. "Why?"   I kept my back against the kitchen door so I could let myself in quickly if I needed to.   "Because I've been keeping track of you. I knew when you moved here, and I knew where you worked, and I came here to see you."   "Why?" I asked again.   "Because I wanted you to know that I can always find you." And then he reached behind me and opened the door and went back inside.   That was three years ago. I quit that job, I changed my name, I moved here. But I still check behind me every time I let myself in my apartment. I still have a panic attack every time I see someone his height, his build. I've never told anyone this story before. I guess I keep hoping I'll forget it, but I never do.     After I finished, everyone applauded. A blond girl with perfect teeth came up to tell me how great I was. A guy who said he had a magazine gave me a homemade business card and told me to send my story to him. I was sleeping with this guy Barber at the time, who was in a band and who everyone thought was going places, and he put his arm around me and kissed me on the head and said, "That was so powerful, dude."   Sophie waited until I was alone--Barber and Irina had gone off to get drinks when she came over. She was tiny, wearing a boy's button-down shirt and jeans rolled up above scrawny ankles. Her hair was slicked back and her face was pale, pointy, wide-eyed. She looked about sixteen years old.   "That's not a true story," was the first thing she said to me. "Is it?" Excerpted from The Life and Death of Sophie Stark by Anna North 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

North's second novel (after the post-apocalyptic America Pacifica) features Sophie Stark, a talented but manipulative young filmmaker who incorporates the life stories of those who love her into her award--winning movies. This portrait of Sophie as a sociopathic artistic genius emerges a chapter at a time from stories narrated by those she has used. She stalks Daniel, a star college basketball player, to create her first film, only to abandon him after he falls in love with her. Allison's painful childhood in West Virginia becomes fodder for Sophie's second production, and the tragic death of her husband's mother becomes the backstory for her breakout endeavor. Sophie freely admits that she doesn't feel emotions like other people, and, despite her skill at examining and documenting the lives of others, she doesn't seem to have the ability or, perhaps, the desire to examine her own life and actions in the attempt to become a better person. The alternating perspectives make this story particularly well suited for the audio format; narrators Amanda Dolan's and Roger Wayne's careful pacing and sympathetic portrayals of Sophie's intimates add to the powerful narrative. VERDICT This haunting examination of the price of artistic success is recommended for literary fiction collections. ["Portrays with painful clarity the life of a flawed but highly talented artist. Essential for literary fiction readers": LJ 5/15/15 starred review of the Blue Rider hc.]-Beth Farrell, Cleveland State Univ. Law Lib. © Copyright 2015. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Review

The ending of North's (America Pacifica) provocative new novel is a foregone conclusion; it is the journey there, revealed by the intimates in Sophie Stark's life, that draws the reader in. The difficult and tenacious filmmaker Sophie inhabits the same world as the rest of us, but she doesn't really live in it. Her intensity informs her filmmaking, which in turn conveys her vision and emotions. A by-product of her hyperfocus is that she manipulates people to achieve her art. Those in her orbit come to understand this too late to have a happy relationship with her. As such, the book's narrators-among them a college basketball player, a musician, and a movie producer-disappear and reappear years later, interrupting the narrative flow. Mitigating that flaw is the character of a film critic, whose writings about Sophie's films are a constant for the reader. The other constant is Sophie's talent. Though derived from her existence as an outsider, it is the vehicle that allows her to bring an uncanny emotional depth to her work. North's nuanced prose and emphasis on characterization result in a thoughtful, moving read that explores the creative process and its effects on relationships. Agent: Julie Barer, Barer Literary. (May) © Copyright PWxyz, LLC. All rights reserved.

Booklist Review

Movies are how I get to know people, explains student filmmaker Sophie Stark, as she seduces West Virginia waitress Allison Mieskowski, convincing her to become the lead actress in her low-budget indie (and her offscreen romantic partner). Allison soon comes to admire Sophie's fierce creativity, and to dread the way that she borrows and manipulates the true stories of those around her in order to make her films. As Sophie and her unflinchingly honest films begin to capture the admiration of Hollywood, they also exact an increasing emotional toll on her loved ones. Allison's first-person account of Sophie's rise and fall is interwoven with testimonies of others in Sophie's circle: her brother, her producer, her husband, her documentary subject, and her most ardent critic, each reflecting on the impact and impossibility of Sophie and her work. As taut and artistically ambitious as its title character, North's novel upends the trope of the lone, tortured genius, considering instead the deeply human consequences of one person's uncompromising vision.--Bosch, Lindsay Copyright 2015 Booklist

Kirkus Book Review

When love and art collide in Sophie Stark's life, art always wins. Sophie, a filmmaker, is elusive in the way we're told only true geniuses can be. From a precocious age, she flits in and out of people's lives, as her career moves from that of a cult favorite to the highest levels of fame. Though she's the book's focal point, her voice is never part of the story; instead, the reader only comes to know her from the perspectives of those who love and watch her, one person and one chapter at a time. Tragedy haunts each section as Sophie keeps choosing to put her art ahead of everybody she loves, whether it's her college girlfriend, her ex-husband, or the people she crashes with in between relationships. With every betrayal, Sophie's art improves, and her mental health crumbles further. The novel builds slowly, and, though its denouement is promised by the book's title, it unfolds with a surprising depth of feeling. Articles by journalist Benjamin Martin appear between most of the chapters; his growth lends a quiet parallel to the growth of Sophie's career, which fleshes out the book nicely. North's writing is assured and engrossing, though the voices of those who love Sophie are fairly similar, creating the effect of a Greek chorus rather than separate narrators. If we're to accept the clich that human kindness is the price of great art, it's a welcome change to see a woman play the role of tortured artist and to hear instead from those who are left behind in her pursuit. An engaging exploration of what it takes to make art and, more importantly, what it takes to love those who make it. Copyright Kirkus Reviews, used with permission.