Praise for The Syme Papers:

An “astonishing debut novel….The reason why the novel works so well is that Markovits has an exquisite sympathy for his characters and writes beautiful, dryly humorous prose, revealing an incredible breadth of reading.”

—Matt Thorne, The Independent

 

"This first novel by Benjamin Markovits signals the arrival of a first-rate talent….Markovits has fashioned a brilliant book from a base character.”

—Alastaire Sooke, The Independent


Praise for Fathers and Daughters:

“It is as if the young writer were laying out before us an artistic journey that begins in cleverness - alluring in spots but elsewhere bumpy and raw - and ends in stirring mastery. . . . In many ways, Rachel is ordinary. But then so was Madame Bovary. Mr. Markovits's writing makes the ordinary unforgettable.”

Richard Eder, The New York Times

 

“This book suggests a real depth of reading, and emotional sentience, in its author. It is wholly American in tone, but hardly in its worldly scope. There is a flavour of Thurber's lonelier stories, perhaps an affinity with the beautiful short novels of WM Spackman, shades of William Gaddis. But it is written in an original, pliant, elegant prose that one immediately trusts. Markovits writes wonderful dialogue - and just the right amount of it. . . . It is difficult to overstress the depth and intelligence, the achievement, of this book. Every decision Markovits makes - and he sets himself difficult ones - shows great command of the fictional art, deep personal feeling and consideration. It is very human, astonishing, superb; and what is more important, sublime. To borrow, sheepishly, a line of Markovits's own: 'These were tender relations. Unequalled.'"

Todd McEwen, The Observer


 Praise for Imposture:

“Benjamin Markovits is an intriguing, sophisticated and accomplished writer. . . . [Imposture] unfolds with a quietness and self-effacement that is the mark of true confidence in a storyteller. . . . Not since Fitzgerald . . . has there been a prose stylist who is so in love with things, the stuff and sensuality of privilege. Markovits renders, like Fitzgerald, the bright glitter that is cast by money across the surface of the world.”

 —Kirsty Gunn, The Observer 


Praise for A Quiet Adjustment:

“. . . A beautifully drawn character, portrayed with moral clarity as well as complexity.”

 —Jay Parini, The New York Times

 

 “A first-rate example of a literary historical novel.”

—Regan Upshaw, San Francisco Chronicle

 

“A psychological masterpiece.”

— Amy Mathieson, The Scotsman

 

Divided into three discrete sections - 'Courtship,' 'Marriage' and 'Separation' - A Quiet Adjustment is a beautifully crafted tale of tainted love, Austenesque in style, Byronic in its melodrama.

—Toby Lichtig, The New Statesman

 

“Markovits tells his tale with incredible style . . . an uncomplicated delight . . . Incomparable.”

—Melissa Katsoulis, The Times

 

“With epigrammatic brevity . . . [Markovits] offeres insights of such startling acuity that they sometimes make you gasp. This is prose of extraordinary richness and subtlety, rich in nuance and irony . . . . [A Quiet Adjustment is] a hypnotic, impeccably researched, and dazzling glimpse into a psyche which has fascinated the world for nearly 200 years—and will no doubt continue to do so.”

—Christina Patterson, The Independent


Praise for Childish Loves:

Childish Loves is much more layered than the previous novels in the trilogy, and in that sense is even more rewarding. All three are beautifully written and reel you in to a disturbing world of fictions and a genuine attempt to answer the question about the essential unknowability of history. . . . If the postmodern 'revival' of the historical novel is, as Anderson argues, about 'a desperate attempt to awaken us to history,' then few can have done it as entertainingly as Markovits.”

—Amy Mathieson, The Scotsman

 

All this would be fiendishly complicated were it not delivered in such cool, effortless prose. Markovits the author is Henry James without the tautology, and he slips magnificently into [Byron's] early 19th-century idiom

—Catherine Taylor, The Telegraph


 Praise for Playing Days:

“That elegiac strain lifts a personal story into a more intriguing one about losing and winning, an evocative sporting memoir into a tale of growing and becoming, and how ambition measures up with experience. It takes great skill to write this well about things that don’t happen.”

—Lucy Daniel, The Telegraph

 

Markovits is an exceptionally adept chronicler of human interaction, and his strongest achievement in this elegant, thoughtful novel is to show that, of the many complicated games people play, those acted out on court might prove the most meaningful of all.

—Olivia Laing, The New Statesman