“A. J. Finn’s voice and story were like nothing I’d ever heard before,” Editor, William Morrow Publishing; “Even in fiction, there are precedents in copyright law where the borrowing of plot elements is so extensive and blatant that plagiarism crosses into copyright infringement”, Rebecca Tushnet, Intellectual Property Expert, Harvard Law School
The Woman in the Window is a 2018 debut thriller and international bestseller by A. J. Finn (Dan Mallory), which sold millions of copies, with the film based on the book to be released in 2020 starring Julianne Moore. Daily Express called the book “masterpiece of storytelling” and Stephen King said that it was “unputdownable”. Saving April is a 2016 lesser-known book by Sarah A. Denzil, released two years before The Woman in the Window and first being available in an e-book format. As I will show below, the similarities between the two books are overwhelming, both in their scope and in their nature, and, clearly, Finn took everything that he possibly could from Denzil’s thriller to write his bestseller. Jane Harper noted that Finn is “a tremendous new talent”. By the end of my comparison, it may become clear that the only talent Finn possibly has (apart from insolence) is taking nearly all of other writers’ ideas, elaborating on them slightly and then passing others’ stories as his own.
Both books undoubtedly drew inspiration from classic film noir, especially from Hitchcock’s Rear Window  and Amiel’s Copycat  as well as from such books as Gone Girl  and The Girl on the Train . However, even though The Woman in the Window feels like a more accomplished and elaborate book that Saving April, it is still the same exact story as Saving April and the similarities between the two are too numerous in their number and too close in their nature for there to be any talk of “inspiration” or “simple source”. In fact, the two stories are so similar that Saving April can be the first/second/third draft of The Woman in the Window. Reading the two thrillers side-by-side, one may become immediately confused which part they read in which book – so similar they are in virtually every way.
The similarities between the two books are as follows (this is far from being an exhaustive list): Continue reading “Did A. J. Finn (“The Woman in the Window” (2018)) plagiarise Sarah A. Denzil’s thriller “Saving April” (2016)?”
Edward Hopper (1882 – 1967) was an American realist painter, depicting both landscapes and social situations. Some of his most well-known paintings are Nighthawks  and Automat . His paintings are often said to portray people’s social isolation and loneliness, and even his landscape paintings feel desolate. Hopper’s paintings also inspired numerous filmmakers, for example, Alfred Hitchcock drew inspiration from Hopper’s House by the Railroad  to make his film Psycho  and Ridley Scott purposively wanted his film Blade Runner  to have the atmosphere of Hopper’s Nighthawks. Below I discuss four other works by this interesting painter.
I. New York Movie 
Continue reading “Edward Hopper: Social Isolation”
I. The Railway Man  by Eric Lomax – ★★★★
“Those who experienced evil may forget it, but those who committed it – never” (A. Mare).
This is a true story of Eric Lomax, a British Army Officer and ex-Prisoner-of-War (POW) during the World War II, who was tortured and held in confinement while he and his fellow comrades were forced to work on the Siam-Burma railway line. Years after the WWII, he came face-to-face with one of his captors – Japanese interpreter Takashi Nagase, a meeting that finally led to a reconciliation. This is Lomax’s incredible true story, which is an inspirational and moving read.
Continue reading “Recent Biography/Memoir Reads: The Railway Man and Mozart: The Man Revealed”
American novelist Patricia Highsmith (1921 – 1995) is probably known for her Tom Ripley thrillers (among which is The Talented Mr Ripley ), as well as for psychological suspense/thriller books that later also became films – Strangers on a Train, The Price of Salt or The Two Faces of January. Below are the reviews of her two books, novels that showcase the depth of this author’s psychological character studies and her admirable, low-key stream of suspense.
I. Edith’s Diary  – ★★★★1/2
“The difference between dream and reality is the true hell” [Highsmith, 1977: 291].
I first spotted this great book on Radhika’s Reading Retreat (check out her amazing blog and book recommendations!) and I knew I had to read it. In this story, Edith Howland moves with her husband Brett and her young son Cliffie from New York City to Pennsylvania. The family is not rich and hopes for the best in their new community. Edith starts to run a political newspaper in the new place, while keeping in touch with her old neighbours in New York and her wealthy aunt Melanie. Pressure on Edith intensifies as her son Cliffie becomes first troublesome then passive and aimless in life and Brett’s uncle George arrives to demand attention to himself. Soon, it is evident that the life that Edith imagined for herself and her family does not quite accord with reality and Edith finds herself increasingly prone to fantasising as she writes in her dairy. What will be the cost of this fantasy? – Simple paranoia and mental health concerns, or maybe the complicity in the death of another person? Edith’s Diary is a nuanced, psychological novel full of hidden, but real fears, and a quietly disturbing account of a woman whose repressed despair caused by social and personal expectations may just surface to lead to tragic results. Continue reading “Patricia Highsmith: Edith’s Diary and The Tremor of Forgery”