Traumatic events in Laura’s past forced her to retreat into a solitary existence filled with regret, denial, hurt and yearning for her daughter, Ellie. Six years ago, Laura left behind in Wales her husband Gareth and Ellie, and ran away to London. On a mental and emotional level, she’s been running ever since. But the time comes when she attempts to reclaim her life, buys a campervan and goes on a singles holiday in Pembrokeshire.
She meets new people and tentatively, cautiously begins to form a new relationship with Ben, but he doesn’t take the centre stage. The most significant new arrival on the scene is Miriana, a young woman who breaks into Laura’s campervan, and more importantly, into Laura’s life and conscience. Miriana is a reincarnation of Ellie and her background bears many uncomfortable parallels to Laura’s own past. There are ulterior motives and secrets galore, twists and turns which I couldn’t predict but which, when they came, made perfect sense and lent this family noir thriller an air of chilling authenticity.
Matthew’s writing is inobtrusive but also rich and lyrical. She is an accomplished plotter and handles the time slips and complex character-building techniques with mastery. Nothing is obvious or trite. The atmosphere of dread and foreboding penetrates every new development – the author never lets up.
This is the second book I read by this author and I am in awe of her ability to combine a thrilling piece of fiction with social conscience and her well-oriented moral compass. Don’t get me wrong – there is no moralising in Matthew’s stories. She doesn’t shy away from difficult, uncomfortable topics of domestic violence, County Lines, grooming, modern-day slavery and gruelling mental health issues, but she does it without judgment and with great sensitivity.
This book is like one of those fireworks displays. You start reading it and you know you are in for something spectacular that will be blow your brains. But there is a bit of a wait – the slow burner of anticipation in the first two-thirds of the book. That’s where Jensen develops her characters and builds the suspense. From page 1 you are told that Connor is going to be taken. In a way he expects it himself. He’s carrying a guilty secret and is overwhelmed by grief over a tragedy that has befallen his girlfriend. His mother Lucy is totally absorbed by his brother’s illness. Kieron has a degenerative liver condition and may soon need a liver transplant if he is to live. His father, Aiden, is entangled in an affair he doesn’t know how to end and fears that if he does end it, the consequences may be dire for him and his family.
Days are counted to the moment of Connor’s disappearance, and when it finally happens you will be tempted to conclude that maybe, on some level, you could have predicted it. That moment is the first firework going off, but it certainly isn’t the last. More and more revelations and twists blow up in your face, a whole barrage of even bolder, brighter and more explosive illuminations. In the last third of the book Jenson puts on the real fireworks extravaganza. You will be kept on your toes to the very end, and then you will be exhausted.
Reading Not My Brother’s Keeper I was reminded of the biblical story of Cain and Abel, the two brothers at odds with each other because of the catastrophically bad choice made by Cain. Living with the consequences of that choice was damning. In Not My Brother’s Keeper, the older brother Robert is a bit like Cain: he makes the wrong – even immoral – choice and takes the wrong turn in life, a decision that will haunt him for years. He abandons his pregnant girlfriend Michelle and leaves town, asking his brother Tom to watch out for her. Tom is to some extent the equivalent of Abel – the good brother who stays behind, picks up the loose ends, keeps the family together and ultimately is rewarded with love and happiness with Michelle. Until, that is, Robert decides to come back and open old wounds. Not My Brother’s Keeper is a thought-provoking tale about family, morality, decency and second chances. The story will stay with you long after you read the last sentence. Highly recommended.
This wasn’t my first read by Susanna Clarke so I knew to expect something magical and otherworldly, but “Piranesi” surpassed my expectations. It isn’t about magic, but it certainly is otherworldly, and more. There is something profound, almost biblical about this book.
The House, which is immeasurable and whose kindness is infinite, is the only world Piranesi knows. And it is that knowledge, or its limitation, that are pivotal here. For Piranesi a house of many chambers and vestibules, rising from the waves, filled with statues depicting real-life and mythical scenes, but otherwise devoid of our modern-day props, constitutes his whole universe. He recognises it as his creator, guide and protector – the House is God-like. The House defines Piranesi’s identity. He worships it, but he also explores and studies it. In a way, he reinvents it: its topography, its dead, its beauty and kindness. The whole premise of one man detached from reality but insistently scientific in his understandings, alone but not lonely, innocent through his ignorance of the existence of others is fascinating. His awakening and transition to the truth seems almost cruel although, despite his naivete, he deals with it admirably.
“Piranesi” isn’t about action or relationships, at least not in the conventional sense, but it is utterly compelling and it will draw you in and make you forget about everything else.
Eight-year-old Chrissie is a child-killer. She is pleased with her effort – it gives that fizzy, sherbet-like feeling in the depths of her stomach. She can hardly contain herself from telling others that it was her, but, being a neglected and unloved little girl and the poorest from an already very poor housing estate, she has a strong sense of self-preservation, so she keeps her secret to herself. Not to mention that she doesn’t really understand death – her da had been declared “dead” by her ma on a few occasions but always managed to come back. But Steven, the toddler Chrissie throttled, seems unable to rise from the dead and his death endures to Chrissie’s bemusement. Twenty years later, Chrissie has a new identity as Julie and a daughter of her own. She believes that she is undeserving of motherhood, and fears that her child will be taken away from her. Julie picks up where Chrissie has left off and embarks on a journey of re-discovery and cautious redemption. The narrative oscillates between Chrissie’s and Julie’s stories which complement each other perfectly.
This is a harrowing read, but one I wouldn’t hesitate to recommend to anyone, whatever your reading preferences. It has a lasting resonance, a heart and a soul, and most of all – conscience. Chrissie’s voice is captured brilliantly. The little girl’s loneliness, despair, her everyday struggle for survival and love are heart-wrenching. Her anger is palpable. Each of her life’s raw disappointments hit me hard as an adult and member of the society that has made this child into what she is. Despite the bleak and gory subject there is a message of hope in this book: people aren’t born evil and they certainly don’t have to remain so. All it takes is for someone to care.
Other characters are also wonderfully observed and drawn: Chrissie’s inept mother, Chrissie’s best friend, the sister of the boy Chrissie’s has killed, Chrissie’s absentee-father… The commentary on our society is damning, but not the commentary on our humanity.
Freddie, a fifteen-year-old youngster, returns home after a night out to announce to his parents that he has killed someone. That is the dramatic opening of “The Lies We Tell”. What follows is a background story of Freddie’s parents, Sarah and Tom, told in the first-person narrative, starting from the moment they met. Slowly and reluctantly Sarah and Tom reveal their own dark secrets to each other which ultimately destabilises their already shaky marriage filled with doubts, incompatibility and mistrust. Following this long and detailed introduction spanning the first twenty years of their marriage, the story picks up again at the point of Freddie’s revelation. Drastic parental actions are taken (I won’t reveal what they are), but ultimately there comes the day of reckoning with a final twist, which isn’t as much shocking as it is unpredictable due to the introduction of a couple of new characters.
I enjoy book by Jane Corry, but this one is slightly different in that it isn’t a tight and fast-paced thriller, but rather a family drama. The long section that takes us linearly through the history of Sarah and Tom’s marriage does not conform to the definition of the genre.
Although it isn’t “thrilling” the book is certainly thought provoking and emotionally charged. I didn’t find Sarah’s character believable, but her dilemma and her reactions made me reflect on what I would do in her place.
The End of Men was already on my kindle (courtesy of the publisher and Netgalley) when I heard an interview with the author on Radio 4. In that interview Christina Sweeney-Baird mentioned that she had made references to The Power when submitting her manuscript. I was disappointed. I didn’t want another book about the male-female reversal of fortunes and about power corrupting women in the same way as it would men. I didn’t want another book where the pronoun he/him would be replaced with she/her. I almost didn’t read The End of Men.
I am so glad that I put aside my reservations and dug into it! Apart from the common denominator of men becoming vulnerable and women holding the balance of survival (and ensuing power) in their hands, The End of Men is nothing like Power. It is incomparably better, in my opinion.
There is subtlety and many different layers of emotions here as Sweeny-Baird explores a world where the male population becomes decimated (literally to the tenth of its original number) and women have to take over the reins. No cheap gloating, primitive vengeance or abuse of power ever enters the page. When the virus attacks their men, women go through what any human being of any gender would: initial disbelief transforms into an instinct of preservation and protectiveness, loss brings on immeasurable grief, the disintegration of the world inspires action, resourcefulness, survival and regeneration. Many women (and one man) narrate/are the protagonists in this book and each of them tells her (or his) own unique story of metamorphosis. The story of Amanda (the doctor who first discovered the virus and identified Patient Zero) and Catherine (the anthropologist who after an unsuccessful attempt at escaping and saving her loved ones, begins to research and record the events and their impact on individual lives) are the two leading threads. But there are many more characters, each with their own reactions to the challenge of the pandemic. There are personal, deeply intimate stories, but also wider events on a larger, geo-political scale tacked in this book. The book reads in places like a factual account – a dramatized real -life occurrence.
The End of Men rings true. Although it is a work of fiction, it touches on the subject of pandemic that changes the world and the traditional male-female roles beyond recognition. As we have all just gone through a life- and society-transforming pandemic, it is easy to believe in this tale and the possibilities it contemplates. But it isn’t just about the pandemic. After WWII in which many men died, women had to take charge of their families, communities, and the future of the world. Women took on new “masculine” careers. This sort of a challenge to the established traditional values of our society is not new. Sweeney-Baird treats it with great sensitivity and insight.
This story is told by Ellen. It begins with her death in a car accident, but it isn’t a story of what happens to her after death. It is about the people who keep her rooted on earth: her daughter Naomi (who survives the accident to Ellen’s unmitigated relief), her bereaved and desperately lost husband Marc who is trying to pull together the loose ends of their family life, and her difficult mother with her own life falling apart.
McCormick spins a moving tale of life interrupted, the unfinished business of love for one’s family, regrets and consuming yearning. Ultimately, it is a life-affirming tale of surviving a personal catastrophe and moving on.
There are many heart-rending moments. I must confess that I welled up a few times. But there is also plenty of humour and hope. George, the apprentice angel, provides some loud-out-lough comic relief and I chuckled a lot at some domestic situations which were both realistic and hilarious. McCormick has a good eye for details and situational comedy.
Overall, The Things I Should’ve Said and Done is a poignant story, told beautifully and with great assurance. Despite its paranormal theme, it is credible and true-to-life.
The Bellhop Only Stalks Once is a cracking crime mystery set in an exotic location, featuring a cast of colourful and diverse characters and presenting the reader with a puzzling case to solve.
Chloe is an American lass on a solo holiday in Costa Rica. Things start going terribly wrong with firstly just one overzealous bellboy from Chloe’s hotel going missing, soon followed by another two. Chloe is the only person to have witnessed his bizarre disappearance. One minute he was there waving to her, the next he sauntered into the jungle. He had made a nuisance of himself prior to his vanishing act, and consequently suspicion falls on Chloe. You feel for her. She is in a foreign country and quite out of her comfort zone. But she is one feisty gal, determined and smart, and she has some allies, such as Juan as well as the charming Mateo, until he too is gone, that is.
Apart from the relatable and likeable characters, the setting also plays its part in the story. The deep and dangerous Costa Rican jungle, the heat and the beautiful but precarious crossings create a thrilling ambience. Amulets and accessories featuring mysterious local deities add more mystery. Little hairs stand up on the back of your neck as you dive into that world with Chloe.
Although there is humour and adventure, there is also an element of grim, brutal reality and pure unrepentant evil. You certainly wouldn’t want to send your child on a holiday where they could end up just like those missing bellboys.
Penny slams on the accelerator from the start. You are introduced to ordinary people going about their ordinary lives: Tim, Aisla and their friends travelling to a farm for the weekend, Linda dropping Bob at work on her way to her next parcel delivery, Charlie fussing about grumpily at the police station, Frankie engrossed in domesticity.
In and out of that everyday bustle, a van comes off the road. It is driven by Linda. She only tries to avoid a rabbit. A parcel breaks open and white powder spills out. Passing motorists call 999, and yet nobody seems to come to Linda and Bob’s rescue.
People go on with their lives. Tim & Co arrive on the farm and have a mighty good time. Then again, a girl runs away. She is scared. She too calls 999, and vanishes.
Hunter is the title character, the detective inspector who has to piece everything together. He is wonderfully fleshed out as a character. Empathetic, patient and caring about his aunt Sandra. I instantly warmed up to him.
Penny has written a fast-paced, gripping mystery, full of twist and meanders. I devoured it within 2 days.