When you write a book as successful as The Girl on the Train, expectations for your second novel are going to be through the roof. Paula Hawkins crafted one of the most page-turning novels of the year with Girl.
For her sophomore effort, Hawkins presents another shifting viewpoint mystery/thriller, but this time around readers are given more than three characters viewpoints to follow. With Into the Water, Hawkins attempts to go a bit deeper into the mystery of two drowning in a small town and the impact the crime has on the community. Like many of today’s better mystery writers, Hawkins’ story is not just interested in revealing the solution to the crime but also at the factors that led to the crime being committed and what that means for the characters that inhabit her world. Continue reading
Henrietta Hoffman (better known as Hattie in her small town) wears a lot of hats. Whether it’s honor’s student near the top of her senior class, the loving daughter of her parents or the dutiful girlfriend. But does anyone really know the REAL Hattie Hoffman?
Mindy Mejia’s Everything You Want Me to Be examines a year in the life of Hattie Hoffman as she struggles to find out the role she really wants to play in life. The big problem is that just as Hattie is figuring out who she wants to be, she meets an untimely end under suspicious circumstances. Continue reading
The runaway success of “Gone Girl” has created a new sub-genre in the mystery/thriller section. It seems like every other book that comes out these days cover blurb touts it as being in the “same vein as ‘Gone Girl.'”
And while there have been a few books that have come close to capturing the page-turning intensity of Gillian Flynn, there have been more than a few that felt like pale imitations of the original.
For the first third of “Distress Signals,” it feels like Catherine Ryan Howard has tapped into the same vein Flynn did with “Gone Girl.” Only to see it all fall apart the more Adam Dunne digs into the disappearance of his fiance, Sarah. Continue reading
As a rule, I don’t peak ahead at the ending of novels.
But there are some books for which exceptions have to be made. And Shari Lapena’s The Couple Next Door turned out to be one of those.
When their babysitter cancels at the last minute, Marco convinces his wife Anne that they can leave their infant daughter home alone while they attend a dinner party next door. If they take the baby monitor with them and take turns checking on their daughter every half hour, nothing could possibly go wrong.
Coming back home from the party, they discover the door ajar and their baby kidnapped. The police are called in and things just aren’t adding up on how and who could or would have kidnapped the little girl. As the investigation deepens, secrets about not only Marco and Anne are revealed but also about their neighbors and Anne’s parents. In short, everyone has something to hide when it comes to the kidnapping.
I have to admit that about a tenth of a way into the novel, I had to skip ahead and see how certain events played out. I didn’t want to ruin any of the twists or character revelations (I luckily didn’t) but instead wanted to find make sure the baby didn’t come to any harm. As a new parent, the idea of someone kidnapping an infant daughter gave me the cold sweats and I didn’t want to continue the story if the outcome was extremely negative. Continue reading
I enjoy a good mystery story. So for today’s Top Ten Tuesday (hosted by the Broke and the Bookish) I decided to look at some of my favorite mysteries.
- The Adventures of Sherlock Holmes by Sir Arthur Conan Doyle.
- Partners in Crime by Agatha Christie
- The Cuckoo’s Calling by Robert Gilbraith
- Playing for the Ashes by Elizabeth George
- Every Secret Thing by Laura Lippman
- The Poet by Michael Connelly
- The Maltese Falcon by Dashiell Hammett
- Shutter Island by Dennis LaHane
- The Last Policeman by Ben H. Winters
- Snow White Must Die by Nele Nuehaus
It seem like a lot of the mystery novels I’m drawn to these days feature an unreliable narrator (or narrators in the case of The American Girl). Whether this is due to the success of novels like Gone Girl and The Girl on the Train has encouraged publishers to jump on the unreliable narrator bandwagon or that it’s just that I’ve become more aware of this particular narrative hook, I’m not sure.
What I do know is that, at this point, it takes a lot to make an unreliable narrator story stand out to me.
Kate Horsley’s The American Girl was able to do that. Well, at least it was able to do that for the first hundred or so pages. Continue reading
Libby Cudmore’s debut novel The Big Rewind features a cover blurb comparing it to Nick Hornby’s High Fidelity. And while it’s true the two novels share first-person narrators who love music and sprinkle in more pop culture references than you can shake a stick at, I’m not sure the comparison between the two extends far beyond that.
Taking over her grandmother’s rent controlled New York apartment, Jett Bennett has grand visions of becoming a music journalist in the Big Apple. But the reality of her situation is that she’s scraping by taking temp jobs and spending a lot of time at Trader Joe’s (if this was a movie, the sheer number of mentions of Trader Joe’s would feel like product placement). Living among bohemian artists, Jett is finding her way in the world when a mix-up in the mail has her stumble across the murder of her neighbor. Continue reading