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The Girls: A Novel Paperback – May 9, 2017

by Emma Cline (Author)

3.8 26,815 ratings

Editors' pick Best Mystery, Thriller & Suspense

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THE INSTANT BESTSELLER • An indelible portrait of girls, the women they become, and that moment in life when everything can go horribly wrong

ONE OF THE BEST BOOKS OF THE YEAR: The Washington Post, NPR, The Guardian, Entertainment Weekly, San Francisco Chronicle, Financial Times, Esquire, Newsweek, Vogue, Glamour, People, The Huffington Post, Elle, Harper’s Bazaar, Time Out, BookPage, Publishers Weekly, Slate

Northern California, during the violent end of the 1960s. At the start of summer, a lonely and thoughtful teenager, Evie Boyd, sees a group of girls in the park, and is immediately caught by their freedom, their careless dress, their dangerous aura of abandon. Soon, Evie is in thrall to Suzanne, a mesmerizing older girl, and is drawn into the circle of a soon-to-be infamous cult and the man who is its charismatic leader. Hidden in the hills, their sprawling ranch is eerie and run down, but to Evie, it is exotic, thrilling, charged—a place where she feels desperate to be accepted. As she spends more time away from her mother and the rhythms of her daily life, and as her obsession with Suzanne intensifies, Evie does not realize she is coming closer and closer to unthinkable violence.

Finalist for the Los Angeles Times Book Prize • Finalist for the National Book Critics Circle John Leonard Award • Shortlisted for The Center for Fiction First Novel Prize • The New York Times Book Review Editors’ Choice • Emma Cline—One of Granta’s Best of Young American Novelists

Praise for The Girls

“Spellbinding . . . a seductive and arresting coming-of-age story.”—The New York Times Book Review

“Extraordinary . . . Debut novels like this are rare, indeed.”—The Washington Post

“Hypnotic.”—The Wall Street Journal

“Gorgeous.”—Los Angeles Times

“Savage.”—The Guardian

“Astonishing.”—The Boston Globe

“Superbly written.”—James Wood, The New Yorker

“Intensely consuming.”—Richard Ford

“A spectacular achievement.”—Lucy Atkins, The Times

“Thrilling.”—Jennifer Egan

“Compelling and startling.”—The Economist

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Editorial Reviews

Review

“Spellbinding . . . A seductive and arresting coming-of-age story hinged on Charles Manson, told in sentences at times so finely wrought they could almost be worn as jewelry . . . [Emma] Cline gorgeously maps the topography of one loneliness-ravaged adolescent heart. She gives us the fictional truth of a girl chasing danger beyond her comprehension, in a Summer of Longing and Loss.”—The New York Times Book Review

“[The Girls reimagines] the American novel . . . Like Mary Gaitskill’s Veronica or Lorrie Moore’s Who Will Run the Frog Hospital?, The Girls captures a defining friendship in its full humanity with a touch of rock-memoir, tell-it-like-it-really-was attitude.”—Vogue

“Debut novels like this are rare, indeed. . . . The most remarkable quality of this novel is Cline’s ability to articulate the anxieties of adolescence in language that’s gorgeously poetic without mangling the authenticity of a teenager’s consciousness. The adult’s melancholy reflection and the girl’s swelling impetuousness are flawlessly braided together. . . . For a story that traffics in the lurid notoriety of the Manson murders, The Girls is an extraordinary act of restraint. With the maturity of a writer twice her age, Cline has written a wise novel that’s never showy: a quiet, seething confession of yearning and terror.”—The Washington Post

“Outstanding . . . Cline’s novel is an astonishing work of imagination—remarkably atmospheric, preternaturally intelligent, and brutally feminist. . . . Cline painstakingly destroys the separation between art and faithful representation to create something new, wonderful, and disorienting.”—The Boston Globe

“Finely intelligent, often superbly written, with flashingly brilliant sentences, . . . Cline’s first novel, The Girls, is a song of innocence and experience. . . . In another way, though, Cline’s novel is itself a complicated mixture of freshness and worldly sophistication. . . . At her frequent best, Cline sees the world exactly and generously. On every other page, it seems, there is something remarkable—an immaculate phrase, a boldly modifying adverb, a metaphor or simile that makes a sudden, electric connection between its poles. . . . Much of this has to do with Cline’s ability to look again, like a painter, and see (or sense) things better than most of us do.”—The New Yorker

“Breathtaking . . . So accomplished that it’s hard to believe it’s a debut. Cline’s powerful characters linger long after the final page.”—Entertainment Weekly (Summer Must List)

“A mesmerizing and sympathetic portrait of teen girls.”—People (Summer’s Best Books)

“The Girls isn’t a Wikipedia novel, it’s not one of those historical novels that congratulates the present on its improvements over the past, and it doesn’t impose today’s ideas on the old days. As the smartphone-era frame around Evie’s story implies, Cline is interested in the Manson chapter for the way it amplifies the novel’s traditional concerns. Pastoral, marriage plot, crime story—the novel of the cult has it all.”—New York Magazine

About the Author

Emma Cline is the New York Times bestselling author of The Girls and the story collection Daddy. The Girls was a finalist for the Center for Fiction’s First Novel Prize, the National Book Critics Circle’s John Leonard Prize, and the Los Angeles Times Book Prize. It was a New York Times Editors’ Choice and the winner of the Shirley Jackson Award. Cline’s stories have been published in The New Yorker, Granta, The Paris Review, and The Best American Short Stories. She was named a Guggenheim Fellow, received the Plimpton Prize from The Paris Review and an O. Henry Award, and was chosen as one of Granta’s Best Young American Novelists.

Excerpt. © Reprinted by permission. All rights reserved.

Adapted from THE GIRLS by Emma Cline, available everywhere June 14th, 2016.

I looked up because of the laughter, and kept looking because of the girls.

I noticed their hair first, long and uncombed. Then their jewelry catching the sun. The three of them were far enough away that I saw only the periphery of their features, but it didn’t matter—I knew they were different from everyone else in the park. Families milling in a vague line, waiting for sausages and burgers from the open grill. Women in checked blouses scooting into their boyfriends’ sides, kids tossing eucalyptus buttons at the feral-looking chickens that overran the strip. These long-haired girls seemed to glide above all that was happening around them, tragic and separate. Like royalty in exile.

I studied the girls with a shameless, blatant gape: it didn’t seem possible that they might look over and notice me. My hamburger was forgotten in my lap, the breeze blowing in minnow stink from the river. It was an age when I’d immediately scan and rank other girls, keeping up a constant tally of how I fell short, and I saw right away that the black-haired one was the prettiest. I had expected this, even before I’d been able to make out their faces. There was a suggestion of otherworldliness hovering around her, a dirty smock dress barely covering her ass. She was flanked by a skinny redhead and an older girl, dressed with the same shabby afterthought. As if dredged from a lake. All their cheap rings like a second set of knuckles. They were messing with an uneasy threshold, prettiness and ugliness at the same time, and a ripple of awareness followed them through the park. Mothers glancing around for their children, moved by some feeling they couldn’t name. Women reaching for their boyfriends’ hands. The sun spiked through the trees, like always—the drowsy willows, the hot wind gusting over the picnic blankets—but the familiarity of the day was disturbed by the path the girls cut across the regular world. Sleek and thoughtless as sharks breaching the water.

1

It was the end of the sixties, or the summer before the end, and that’s what it seemed like, an endless, formless summer. The Haight populated with white-garbed Process members handing out their oat-colored pamphlets, the jasmine along the roads that year blooming particularly heady and full. Everyone was healthy, tan, and heavy with decoration, and if you weren’t, that was a thing, too—you could be some moon creature, chiffon over the lamp shades, on a kitchari cleanse that stained all your dishes with turmeric.

But that was all happening somewhere else, not in Petaluma with its low-hipped ranch houses, the covered wagon perpetually parked in front of the Hi-Ho Restaurant. The sun-scorched crosswalks. I was fourteen but looked much younger. People liked to say this to me. Connie swore I could pass for sixteen, but we told each other a lot of lies. We’d been friends all through junior high, Connie waiting for me outside classrooms as patient as a cow, all our energy subsumed into the theatrics of friendship. She was plump but didn’t dress like it, in cropped cotton shirts with Mexican embroidery, too-tight skirts that left an angry rim on her upper thighs. I’d always liked her in a way I never had to think about, like the fact of my own hands.

Come September, I’d be sent off to the same boarding school my mother had gone to. They’d built a well-tended campus around an old convent in Monterey, the lawns smooth and sloped. Shreds of fog in the mornings, brief hits of the nearness of salt water. It was an all-girls school, and I’d have to wear a uniform—low-heeled shoes and no makeup, middy blouses threaded with navy ties. It was a holding place, really, enclosed by a stone wall and populated with bland, moon-faced daughters. Camp Fire Girls and Future Teachers shipped off to learn 160 words a minute, shorthand. To make dreamy, overheated promises to be one another’s bridesmaids at Royal Hawaiian weddings.

My impending departure forced a newly critical distance on my friendship with Connie. I’d started to notice certain things, almost against my will. How Connie said, “The best way to get over someone is to get under someone else,” as if we were shopgirls in London instead of inexperienced adolescents in the farm belt of Sonoma County. We licked batteries to feel a metallic jolt on the tongue, rumored to be one-eighteenth of an orgasm. It pained me to imagine how our twosome appeared to others, marked as the kind of girls who belonged to each other. Those sexless fixtures of high schools.

Every day after school, we’d click seamlessly into the familiar track of the afternoons. Waste the hours at some industrious task: following Vidal Sassoon’s suggestions for raw egg smoothies to strengthen hair or picking at blackheads with the tip of a sterilized sewing needle. The constant project of our girl selves seeming to require odd and precise attentions.

As an adult, I wonder at the pure volume of time I wasted. The feast and famine we were taught to expect from the world, the countdowns in magazines that urged us to prepare thirty days in advance for the first day of school.

Day 28: Apply a face mask of avocado and honey.

Day 14: Test your makeup look in different lights (natural, office, dusk).

Back then, I was so attuned to attention. I dressed to provoke love, tugging my neckline lower, settling a wistful stare on my face whenever I went out in public that implied many deep and promising thoughts, should anyone happen to glance over. As a child, I had once been part of a charity dog show and paraded around a pretty collie on a leash, a silk bandanna around its neck. How thrilled I’d been at the sanctioned performance: the way I went up to strangers and let them admire the dog, my smile as indulgent and constant as a salesgirl’s, and how vacant I’d felt when it was over, when no one needed to look at me anymore.

I waited to be told what was good about me. I wondered later if this was why there were so many more women than men at the ranch. All that time I had spent readying myself, the articles that taught me life was really just a waiting room until someone noticed you—the boys had spent that time becoming themselves.

Adapted from THE GIRLS by Emma Cline. Copyright © 2016 by Emma Cline. Reprinted by arrangement with Random House, a division of Penguin Random House LLC. All rights reserved.

Product details

Publisher ‏ : ‎ Random House Trade Paperbacks; Reprint edition (May 9, 2017)
Language ‏ : ‎ English
Paperback ‏ : ‎ 384 pages
ISBN-10 ‏ : ‎ 0812988027
ISBN-13 ‏ : ‎ 978-0812988024
Item Weight ‏ : ‎ 8 ounces
Dimensions ‏ : ‎ 5.14 x 0.76 x 7.97 inches

Best Sellers Rank: #29,239 in Books (See Top 100 in Books)
- #607 in Psychological Fiction (Books)
- #713 in Coming of Age Fiction (Books)
- #2,671 in Literary Fiction (Books)

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3.8 26,815 ratings

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Emma Cline

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Emma Cline is from California. Her fiction has appeared in The New Yorker, Tin House, Granta, and The Paris Review, and she was the winner of the 2014 Plimpton Prize from The Paris Review. Her novel The Girls was a finalist for the First Novel Prize, a National Book Critics Circle Award, and the LA Times Book Prize, and was the winner of the Shirley Jackson Award. In 2017, Granta named her one of the Best Young American Novelists. Her story collection Daddy will be published September 2020.

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The Casual Nerd

The Girls is undoubtedly a challenging read.

Reviewed in the United States on June 28, 2017

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The Girls is undoubtedly a challenging read. Based on the Manson murders, make no mistake, there is a hefty amount of uncomfortable content centering around drug use and sexual encounters (some of which I would clearly label as assault). The fact that the main protagonist Evie is a mere 14 years old, makes it one tough pill to swallow.

Based on several reviews, I was anticipating a dark read full of teenage angst that played on a graphic core in order to up the “wow” factor. I could not have been more wrong. Nor have I ever been happier to be so wrong. The Girls is a shining example of how to utilize first person narration in the most successful ways.

It is the end of the 60’s in Northern California. It is summer, and Evie Boyd feels isolated and out-of-place. Like many teenage girls she just wants to belong. Enter Suzanne. She is care-free and captivating. Immediately drawn to this young stranger, she slowly begins distancing herself from her family and only real friend to spend more time with Suzanne and her friends on the ranch led by the amorous Russell. Evie feels like she has finally found her place in life. But once the initial luster wears off, she realizes she may be involved in something sinister and dangerous.

“My eyes were already habituated to the texture of decay, so I thought that I had passed back into the circle of light.”

Evie Boyd is so bitterly realistic and raw as a protagonist that there is a part of her I found uncomfortably familiar. As a young impressionable girl desperately seeking an acceptance that most of us can remember feeling was out of reach during some point in our young lives, she is undeniably relatable to at least a small degree. It is this painfully honest approach to her character that gives her and The Girls true life and credibility. The part of me that would normally question her frighteningly bad decisions and actions was easily replaced with an equal amount of sadness and understanding. I didn’t like that I was juggling this new-found sympathy for a character who was making harrowing choices, but I couldn’t help but admire the author’s ability to solicit this from me. Full immersion into Evie’s life had occurred.

“You wanted things and you couldn’t help it, because there was only your life, only yourself to wake up with, and how could you ever tell yourself what you wanted was wrong?”

Cline spares zero expense or feelings in effort to establish this dark world that is a cult. She brazenly exposes the reader to the loss of Evie’s innocence, gross sexual encounters and the repetitive drug use that fuels this disturbing journey into one young girl’s psych and time on the ranch. The very facets that make The Girls so disturbing also make it so triumphant. This no holds barred approach succeeds in setting the stage and making the unfathomable feel horribly possible. It is through this bold technique that the reader can begin to process how our young protagonist has come to find herself on the ranch. This is a terrifyingly sincere representation of cult life and culture. It is not meant to be pleasant or easy.

Cline’s writing is almost poetic yet pragmatic. She effortlessly supplies a fluid narration that leaps from Evie’s past to present. I have noted some reader’s struggled with the change in tone at times, but I personally found this to play perfectly into her transitions, conveying our narrator’s current state of mind more effectively. The ending did not offer an overly satisfying conclusion, but I couldn’t really ask that from The Girls.

So here is the hard part, I loved this novel. But I am hesitant to recommend it. This will be too much for many and rightfully so. This is a brutal coming of age story during a very dark time. It has burrowed deep into the core of my mind and is sure to remain for some time. If you find yourself truly fascinated with cult culture and the human psych and can stomach the harsh reality of what it entails, then consider adding this to your list.

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Beth

Disturbing and excellent

Reviewed in the United States on June 20, 2016

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"We all want to be seen."

The words of the narrator, Evie Boyd, sum up the underlying theme of this excellent debut novel. Fourteen-year-old Evie feels a vague sense of unease with her upscale, late sixties suburbia life, as well as the role she is expected to play as a young woman. She feels the need to belong, to have others notice her and acknowledge her existence. Early on, she thinks, "All that time I had spent readying myself, the articles that taught me life was really just a waiting room until someone noticed you--the boys had spent that time becoming themselves."

Someone finally does notice her: the titular girls, especially one named Suzanne. Evie is attracted to her in both an erotic and envious way. Suzanne seems defiant to the niceties of society and appears to be a free spirit. Evie falls in with the girls who eventually take her to the ranch, where several of them are living under the guidance of the supposedly brilliant and charismatic Russell. As Evie is drawn into the circle, she spends more and more time at the ranch, partying and getting deeper into their lifestyle.

Of course, the ranch, the girls, and Russell are thinly veiled stand-ins for Charlie and the Manson family. If I had to guess which Manson family member is the basis for Suzanne, I'd guess that it was Susan Atkins, AKA Sadie. Although we spend most of the book in 1969 as Evie relates the story of that strange summer that ended so violently, we also get the adult Evie looking back at her experience there. She ponders why she was so easily sucked into the group and wonders what she might have been capable of. She still lives in some fear and horror at the events of her past but also misses that initial sense of belonging...and of being noticed. The young Evie was beginning to realize the power of femaleness and the control that can be gained from it, a lesson she learned from the girls at the ranch.

For a non-horror book, it left me with a deep sense of dread, sadness, and understanding. Although Cline's prose can get a little much at times, it actually worked quite well. So many of Evie's distant memories are triggered by scents or sounds or a particular kind of light. It made me get inside her head and understand her feelings on a deeper level. It made me remember my own sense of wanting to belong at that age and wanting to be noticed.

This is an excellent book--and a debut novel!--my favorite of the year so far. Highly recommended.

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magnus lindoff

Spännande läsning

Reviewed in Sweden on August 20, 2022

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Mycket bra bok och spännande läsning

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Keyzer Soze

Entretenido, pero esperaba más

Reviewed in Mexico on May 11, 2020

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"I looked up because of the laughter, and kept looking because of the girls".
Con esta línea inicia el libro de Emma Cline, el cual prometía mucho, influido creo por todo el bombo y publicidad alrededor de él. Está más enfocado en el crecimiento y madurez de una adolescente ("We all want to be seen") que en el ficticio asesinato masivo.
En general, el libro es entretenido, y tiene pasajes interesantes, pero definitivamente esperaba más, mucho más. No tiene ni la narración más fluida ni es de esos textos que no puedes soltar por que quieres saber qué va a suceder.

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Reboul Gilles

page

Reviewed in France on March 5, 2019

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page de couverture abîmée ,collante

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avidreader52

From the sixties

Reviewed in Brazil on September 22, 2017

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I realised how some of us girls in the sixties were so much alike the character Evie, and no matter where we grew up we lived a few of those experiences. We were deluded by the vibe of Love and Peace, rocked by music and fake freedom.

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Debra

Gripping

Reviewed in Australia on December 22, 2020

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A great story about the ups and downs of adolescence. The fictional spin on the Manson family cult was interesting and done well. I didn't particularly enjoy the chapters set in the present, but they were necessary in comparing the two young female characters, and the two versions of the main character.
I didn't like the main character much but I kept reading because the world the author built was riveting. A gripping read.

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