"Exuding such a sense of summer the pages might be warm to touch, Hartley's coming-of-age tale is set during the heatwave of 1900. It all ends in tears, but not before there have been plenty of cucumber sandwiches on the lawn." —The Observer

"The first time I read it, it cleared a haunting little spot in my memory, sort of like an embassy to my own foreign country. . . . I don't want to spoil the suspense of a well-made plot, because you must read this, but let's just say it goes really badly and the messenger (shockingly) gets blamed. Or he blames himself anyway. And here the mirror cracks; the boy who leaves Brandham is not the one who came. Indeed the narrator converses with his old self as though he were two people. That was the powerful gonging left by my first read: What, if anything, bundles us through time into a single person?" —Ann Brashares, "All Things Considered," NPR
 
"I can't stop recommending to anyone in earshot L.P. Hartley's The Go-Between. . . . One of the fabled opening lines in modern literature: 'The past is a foreign country: They do things differently there.' The NYRB paperback has a superb new introduction by Colm Tóibín, but don't read it until after you've read the book itself." —Frank Rich, New York Magazine
 

An invitation to a friend's house changes an adolescent boy's life. Discovering an old diary, Leo, now in his sixties, is drawn back to the hot summer of 1900 and his visit to Brandham Hall. The past comes to life as Leo recalls the events and devastating outcome that destroyed his beliefs and future hopes.

The first annotated edition of L.P. Hartley's great classic, the present text generally follows that of the first edition of 1953 and also includes a number of small but significant corrections based on the surviving holograph of The Go-Between.

Lord David Cecil described L.P. Hartley as "One of the most distinguished of modern novelists; and one of the most original. For the world of his creation is composed of such diverse elements. On the one hand he is a keen and accurate observer of the processes of human thought and feeling; he is also a sharp-eyed chronicler of the social scene. But his picture of both is transformed by the light of a Gothic imagination that reveals itself now in a fanciful reverie, now in the mingled dark and gleam of a mysterious light and a mysterious darkness.... Such is the vision of light presented in[his] novels.