Highway Thirteen

Highway Thirteen by Fiona McFarlane, published by Hodder & Stoughton on June 5, 2025, is a literary exploration that delves into the complexities surrounding a series of brutal murders committed by an ordinary Australian man in 1998. This edition, comprising 320 pages, presents a narrative that intertwines the immediate horror of the crimes with their broader implications on personal histories and societal perceptions. The book examines how such events resonate within communities, shaping both collective memory and individual experiences.
Readers will find a rich tapestry of themes as Highway Thirteen traverses various locations, from the killer’s childhood town to places like Texas and Rome, spanning from the mid-twentieth century to the near future. The narrative raises questions about the nature of mourning and the public’s fascination with true crime, challenging the notion of centering the killers in these stories. With elements of mystery and crime woven throughout, this work invites reflection on the impact of violence and the narratives that emerge in its wake.
Official synopsis Publisher
‘Stylish and lyrical in its prose and deeply sensitive in its characterisation’
GUARDIAN
‘Clever and engrossing’
MAIL ON SUNDAY
‘McFarlane’s imaginative and tonal range is astonishing . . . a superb writer’
SYDNEY MORNING HERALD, Books of the Year
‘A masterclass’
TIMES LITERARY SUPPLEMENT
‘McFarlane is a master at just about everything: dialogue, setting, comic timing’
LOS ANGELES TIMES
In 1998, an apparently ordinary Australian man is arrested and charged for a series of brutal murders. The news shocks the nation, bringing both horror and resolution to the victims’ families, but its impact travels even further: into the past, as the murders rewrite personal histories, and into the future, as true crime podcasts and biopics tell the story of the crimes.
From the killer’s childhood town to Texas, Rome and beyond, from the mid-twentieth century to the near-future, Highway Thirteen asks how do communities make sense of such atrocities? How does the mourning of families sit alongside the public fascination with terrible crimes? And can we tell true crime stories without centring the killers?
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