The best parts of this book were written in the middle of the 19th century by Charles Baudelaire.

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BELIEVE ME

The unreliable-narrator craze continues with Delaney's (The Girl Before, 2017) new thriller.

A disgraced British actress named Claire Wright comes to the United States, sans green card, looking for work. Her agent gives her the bad news. "The days we took the huddled masses yearning to be free are long over." She ends up working for a divorce lawyer, setting up stings to entrap unfaithful husbands by pretending to be a high-priced hooker. Then one of her prospective clients is found dead beneath a bloody sheet in a hotel room. Primary suspect: the woman's husband, a Columbia University professor and the translator of Baudelaire's book of S&M poetry, Les Fleurs du Mal. The police suspect he's a serial killer, with previous Baudelaire-inspired murders under his belt, ha ha. They have Claire go undercover to lure this guy into a confession. It's the role of her career, one she throws herself into so wholeheartedly she loses track of what is real and what is masquerade, ending up madly in love with her target. After many twists and pseudo-reveals, she ends up first in a mental institution and then with a starring role in My Heart Laid Bare, the suspected killer's off-Broadway show based on a nasty incident in the life of Baudelaire. "Who is the real Claire Wright? The one sitting here with her precious green card and permit in front of her, exchanging pleasantries with the man who provided it? Or the one who fell for the darkness she sensed deep inside the only man she couldn't seduce?" An unreliable-narrator setup works best when the character believes her own story or is lying intentionally to other characters in the book. When it mostly means that the narrator deliberately conceals key facts from the reader for no purpose other than to create confusion and suspense, it feels a little cheesy. The author confesses in an afterword that she wrote and published this book decades prior to last year's bestseller, The Girl Before, but it didn't do very well, so she's trying again with a rewrite.

The best parts of this book were written in the middle of the 19th century by Charles Baudelaire.

Pub Date: July 24, 2018

ISBN: 978-1-101-96631-0

Page Count: 352

Publisher: Ballantine

Review Posted Online: April 16, 2018

Kirkus Reviews Issue: May 1, 2018

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Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

THEN SHE WAS GONE

Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.

Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

Pub Date: April 24, 2018

ISBN: 978-1-5011-5464-5

Page Count: 368

Publisher: Atria

Review Posted Online: Feb. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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Amateurish, with a twist savvy readers will see coming from a mile away.

THE SILENT PATIENT

A woman accused of shooting her husband six times in the face refuses to speak.

"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.

Amateurish, with a twist savvy readers will see coming from a mile away.

Pub Date: Feb. 5, 2019

ISBN: 978-1-250-30169-7

Page Count: 304

Publisher: Celadon Books

Review Posted Online: Nov. 4, 2018

Kirkus Reviews Issue: Nov. 15, 2018

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