'When I picked up this 1949 reprint I offered it the tenderly
indulgent regard I would any period piece,' commented Nicholas
Lezard in "The Guardian". 'As it turned out, the book survives
perfectly well on its own merits - although it nearly finished me.
If you like a novel that expertly puts you through the wringer,
this is the one.' Hilary Wainwright, poet and intellectual, returns
after the war to a blasted and impoverished France in order to
trace a child lost five years before. The novel asks: is the child
really his? And does he want him? These are questions you can take
to be as metaphorical as you wish: the novel works perfectly well
as straight narrative. It's extraordinarily gripping: it has the
page-turning compulsion of a thriller while at the same time being
written with perfect clarity and precision.'Had it not got so
nerve-wracking towards the end, I would have read it in one go. But
Laski's understated assurance and grip is almost astonishing. She
has got a certain kind of British intellectual down to a tee: part
of the book's nail-biting tension comes from our fear that Hilary
won't do something stupid. The rest of "Little Boy Lost's" power
comes from the depiction of post-wr France herself. This is
haunting stuff.'
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