Readers of the Richard & Judy book club pick, ‘She Lies in Wait’, have come to expect a fast pace, intricate, meticulous plotting and nuanced, compelling characters from Gytha Lodge. The second in the DCI Jonah Sheens series, ‘Watching from the Dark’ certainly does not disappoint.
Aidan Poole logs on to Skype to chat to his girlfriend, Zoe Swardadine. But he doesn’t expect to see a stranger enter her flat. To hear a desperate struggle and then a dreadful silence. Aidan is desperate to find out what has become of Zoe, so why is he hesitant to contact the police?
The book switches deftly between the present-day investigation and the run-up to Zoe’s murder, as well as furthering the stories of Jonah’s likeable team – not least the magnetic Lightman and the vulnerable but smart Hanson.
It’s ideal for the hardened thriller reader, with twists and tangles aplenty to keep you guessing and a complex cast of characters, each with their own secrets to hide.
With thanks to Gytha Lodge and publishers, Michael Joseph, for an advance copy in exchange for an honest review.
At first glance, Alison has a simple life. She works in a library and returns to her tranquil flat. But something is very wrong. Alison believes that her husband, Jack, is stalking her, leaving messages in her flat and tracking her down at the library. What did he do and why did he leave? And who is the woman who keeps talking to Alison in the cafeteria? Where does Alison remember her from, and how is she involved with Jack?
I have followed Nikki’s journey to publication with interest, and have heard a lot about this book, but happily not enough to have anticipated the ending.
It’s everything you want from a psychological thriller: it’s cleverly plotted, engaging and creates tension and an atmosphere of foreboding right from the outset. What’s more, it has an incredible twist that pulls the rug from under your feet and sends the story hurtling in a new direction, towards a satisfying and heart-warming conclusion. Like all the best twists, the clues are there on reflection, but the answer is well-hidden until the big reveal. I’m willing to bet not many readers will see it coming.
Nikki demonstrates her mastery of both characterisation and plotting in her debut. She weaves the story together from Jack’s perspective as well as Alison’s, and both characters are well-rounded and sympathetic but also compelling and complex.
It’s difficult to maintain so much mystery whilst giving the reader enough to keep track of what’s going on, but Nikki’s handling of the narrative makes it look easy and keeps the pages turning.
Don’t miss this incredible book – and keep an eye out for Nikki Smith in future!
With thanks to Nikki Smith, publishers Orion and NetGalley for an advance copy in exchange for an honest review.
What if the one thing that kept you together was breaking you apart?
Exploring family and love, grief and guilt, Missing Pieces follows two generations of the Sadler family, who are torn apart by the tragic death of a child. Grieving for her daughter, Linda becomes distanced from her husband, Tom, elder daughter, Esme, and even from her unborn baby. The second half of the book, set twenty-five years later, follows that baby, Bea, as she navigates not only the challenges of her family’s past, but also difficult questions about her own future.
So, it’s a book of two halves. In the first, everything slides off the rails and nothing is airbrushed. The repercussions of Phoebe’s death – and Linda’s anger at the injustice of it – is palpable from her clandestine drinking, to the breakdown of her relationships with the rest of her family. In the second, those old scars are very much present, but the unravelling of the past brings some kind of healing.
Missing Pieces is not a noisy, showy book. The tone suits the subject matter – it’s eloquent and raw, unassuming and unflinching. There is no schmaltz or melodrama – the author remains true to the characters and the threads of their relationships are woven realistically and sensitively throughout the story.
The characters’ attempts to scrabble together the ‘Missing Pieces’ are realistic and human – there is no tying everything neatly with a bow, no attempt to paper over the cracks. This is what makes the book beautiful – melancholy and thoughtful, without being bleak. Devastating and yet hopeful. Intense without being overwhelming. And compelling reading.
I follow Laura Pearson on Twitter and was inspired by her personal story and the challenges she overcame to write her debut, Missing Pieces. I certainly look forward to reading more from Laura.
Thank you to NetGalley for giving me the opportunity to read Missing Pieces in exchange for an honest review. You can purchase your copy here.
With a large cast of primary school parents, a suspicious death and a dénouement that explores domestic abuse, Liane Moriarty’s HBO hit is a page-turner with a big message.
Big Little Lies was published in 2014 – one in a string of hits for Australian author, Liane Moriarty. This was the first book to make it to Hollywood, however, with HBO turning it into a series starring Nicole Kidman, Reese Witherspoon and Shailene Woodley.
I enjoyed ‘The Husband’s Secret’ (published the year prior) and this is the second book of hers I read whilst writing my first book, and seeking to discover how well-known authors were handling infidelity storylines. Contrary to billing, it’s ‘The Husband’s Secret’ which tackles infidelity head-on (and for my money, it’s a more engaging and meaningful read), but this story has much to recommend it too.
It’s the start of term at Pirriwee Public School, and Jane has recently moved to the area with her son, Ziggy, to start afresh. She quickly makes friends with the outspoken Madeline and glamorous Celeste, whose children will also be in Ziggy’s class.
At a fundraiser, someone dies, but we don’t know who or how – and we won’t find out the details until the dénouement. The creative stalling for time (as the individual stories unfold), combined with Moriarty’s knowing humour which rings throughout, keeps you turning pages, until the ending delivers a sobering reality, handling domestic abuse with sensitivity and a depth you might not expect from the tone of the story.
Moriarty manages a large cast of characters with aplomb. We meet them along with Jane, and her mnemonics help bookmark the players enough to keep a handle on who’s who. With a cast this big, it’s difficult to work with subtle character traits, so it’s more of a case of planting a flag and differentiating – creating enough contrast to avoid confusion. Cameos from police interviews – which ostensibly offer tidbits of information about the murder – actually serve to re-establish minor characters whose motivations will be important later, and who risk getting lost along the way.
Because of the simplicity and accessibility of the prose, it’s a case of art concealing art – a lesson in authorial plate-spinning. And a few clatter. Jane, highly anxious and inclined to dwell on the past, suddenly becomes an optimist. And if you’re going to have a catchphrase that sticks out like a sore thumb (‘Oh, calamity’), you want to make sure one character keeps a tight grip on it. But none of these spoil the read, because there is a sense of ‘knowing what you’re in for’, when it comes to this author.
As with other Moriarty reads, I couldn’t help but feel that she had something on the tip of her tongue and that it was never quite said, until the end, where it was announced with a drum roll and cymbal clash, and lost its nuance in all the noise.
But maybe that’s genre preference, above anything else.
In short? It’s a good read – a page-turner that mixes complex social issues with light, airy prose. And sometimes that’s exactly the read you need.
Hailed as the first novel about motherhood and climate change, The End We Start From is a mysterious, tender and uplifting work – a short book that leaves you wanting more.
I had the pleasure of hearing Megan Hunter speak at the Cambridge Literary Festival last year, and couldn’t resist the boldly original premise of this book…
As a woman’s waters break, London is drenched by floods and finds itself in the grip of an environmental crisis. As she comes to terms with new motherhood, her family also face a fight for survival.
The title is taken from T.S. Eliot and if this doesn’t tip you off that the author is a poet, the narrative style will. The prose is rich and sparing – it dances lightly along a couple of lines at a time and the characters are referred to only by their initials. Whilst the reader may crave more detail about the violence and anarchy which threaten the safety of mother and baby Z, the blank space on the page speaks volumes, serving only to increase the menace.
“Home is another word that has lost itself,” says the woman. As their support structures disintegrate piece by piece, mother and child drift untethered and itinerant, and the story swims forward from point to point too. Again, the narrative nods at the reader’s questions, but doesn’t answer. The effect is to focus our attention as much on the inner story – the concerns of mother and child, the fluidity of time with a new-born, the ebbing and flowing sense of self, the milestones – as on events unfolding in the outside world. It is what Margaret Atwood refers to as ‘herstory’ versus history. We are confronted with how little we understand of nature – the forces that shape our world and act on our bodies.
Babies, we’re reminded, need very few of the trappings of modern life. It is the intensity with which they take what they need from their mother that can leave us flailing in the water.
As mother and child each find their feet in a new and different world, the narrative carries a message of hope and comfort: that all we can do is embrace the unknown and trust in our deliverance.
There’s nothing like a cold snap to make you yearn for summer, crank up the Beach Boys and imagine the orange warmth of the sun kissing your eyelids.
Tove Jansson’s The Summer Book is just the remedy. Indeed, the popularity of the book in Scandinavia, says Esther Freud in her foreword, owes much to ‘the allure of summer itself for those people who spend so much of the year in the dark’.
Jansson, best known as the creator of the Moomin stories, wrote the book in 1972, the year after her own mother died, and the book borrows characters and memories from the author’s life.
A touching yet understated novella, it shrugs off delineations of genre (combining adventure, humour, biography and philosophy) and just keeps you coming back for more.
Sophia spends her summers with her father and grandmother on a tiny, remote island in the Gulf of Finland. She has just lost her mother and – although the story is positive and life-affirming – loss is ubiquitous. Whilst Grandmother has no objection to her swearing, she won’t allow the child to call her ‘Mama’.
There is no plot, in the traditional sense. Time is elastic, but nevertheless linear. Presented as one summer, the chapters stretch into many, with friends and others drawing into focus and then disappearing into the shadows without explanation.
In the absence of traditional plot points, the relationship between grandmother and granddaughter is the narrative’s primary driving-force. Grandmother is terse, yet fiercely kind and protective. Determined to foster Sophia’s independence without crushing her spirit or cutting short her childhood, she is equal parts delight and frustration at the absolutes which govern the young girl’s thinking. Sophia, too, insists upon pulling ties that bind them, then returning for comfort when bowled over by adult emotions.
Like the push and pull of its characters, the prose vacillates too – by turns, sparse and crisp, then gentle and meandering. One of the delights of the book is that conversations between the two are as likely to end abruptly in childish frustration as they are to unfold into profound philosophical discussions.
We are different creatures in the summer, Jansson reminds us. We stretch our minds and bodies towards nature. And while Sophia grows and explores, Grandmother’s physical decline is becoming ever more apparent.
The island – a character in its own right in this work – is developing too. We are reminded that a space that feels small to the point of claustrophobia for adults, is perfect for an exploring child, whose imagination and adventures expand it.
The island is ravaged by storms which blow over by dawn, like the characters’ arguments. Moss, trampled by summer guests, never comes back. New neighbours bring new customs and erode the old ways of life. Each change threatens to upset the delicate balance and uproot Grandmother. It is Sophia, with her youthful openness to possibility, who is able to usher in an acceptance of new ways of living on the island.
Humorous, wise and thoughtful, The Summer Book is a breath of fresh air in the truest sense, and a little taste of the trickling, pebble-strewn pleasures of summer in the midst of an unrelentingly cold winter.