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readwatchdrinkcoffee's Reviews (382)
The Chain is certainly a page-turner, and if you’ve read anything about it, you’ll know why. It has a clever and unique premise that is sure to entice a lot of readers. But does it live up to the hype? While I liked the story and was eager to read on, I didn’t find myself getting excited by it.
Since the blurb and cover give away the main premise, the story gets straight to the point and the action comes at you in full force. But while it’s a brilliant and intriguing concept, it’s simply told. Certain things that I wanted to know more about are described in a single sentence, as the narration often skips on detail. The chapters are short which I love and there were many times that I was eager to know what happened next, but so much happens on a single page that there isn’t enough time for suspense.
This also means that the ending is rushed, too. There’s a lot of talk about Rachel’s cancer, but I didn’t see the point in her being ill in the end. Was it just to make her character physically weaker? Or was it to make her mentally stronger? Maybe it was just so that we would doubt her abilities. Either way, I was expecting a more personal touch in the closing chapters, but there wasn’t enough time left to see how the characters all individually transformed.
I think the reason that I couldn’t get into the story properly was because it lacked a distinct voice. The dialogue is poor, often used to describe what was going on rather than feeling like an actual conversation between people. You can tell that McKinty isn’t American, as well. The conversations didn’t feel like real people talking, and their voices didn’t feel individual to their character. For one example, Marty often called Rachel “Sweetie” in a condescending manner, but then Peter began to do this as well, which didn’t feel like his character at all.
I often felt this lack of consistency or sharpening of detail which only exaggerated the rushed feeling. In terms of quality and development, there are too many missed opportunities that don’t reach their full potential. While the book explores how far you would go to protect the ones you love, Rachel seems to fit into her new role quite easily. She makes a few comments about how it shouldn’t be normal to be having these thoughts and it’s obvious that she’s desperate to get her daughter back, but I didn’t feel the struggle in her head about having to do something so horrible. She was quick to accept what she had to do and wasn’t torn about her decision to go through with it.
Another thing that disrupted my reading was that the chapters weren’t attributed to a character or time. Only a few are given a date stamp in the beginning, but then when the chapters start to skip back years, it isn’t made clear. Written in the third person, it’s also often confusing as to who the chapter is talking about. There’s a lot of “She did this” and “He did that”, so it’s not until halfway through a chapter that you know who you’re reading about, as it feels like you’re observing the characters from afar and don’t know whether this is the case or not.
What I liked about the story is that McKinty explores the story from every angle and tackles many different obstacles in a situation that could have gone in many different ways. Margaret and Oliver are great characters and it’s their evilness that really drives the story. But I wanted to get to know more about them and earlier on. I think it would have worked much better if their chapters were linked in from the beginning, alternating between Rachel and The Chain to show us more from their point of view, as they puppeteer their plan while the story also begins to explore their past. This way, the main twist could have then been played in more slowly and subtly, as it’s pretty obvious what’s coming as soon as Margaret’s character makes her main appearance.
While there’s a lot about this book that I’ve picked apart in my review, I did enjoy reading it and it would make a great holiday read. It would be the ideal story to be adapted into a TV series, so I look forward to the likely possibility of someone developing and expanding upon McKinty’s fantastic concepts.
Since the blurb and cover give away the main premise, the story gets straight to the point and the action comes at you in full force. But while it’s a brilliant and intriguing concept, it’s simply told. Certain things that I wanted to know more about are described in a single sentence, as the narration often skips on detail. The chapters are short which I love and there were many times that I was eager to know what happened next, but so much happens on a single page that there isn’t enough time for suspense.
This also means that the ending is rushed, too. There’s a lot of talk about Rachel’s cancer, but I didn’t see the point in her being ill in the end. Was it just to make her character physically weaker? Or was it to make her mentally stronger? Maybe it was just so that we would doubt her abilities. Either way, I was expecting a more personal touch in the closing chapters, but there wasn’t enough time left to see how the characters all individually transformed.
I think the reason that I couldn’t get into the story properly was because it lacked a distinct voice. The dialogue is poor, often used to describe what was going on rather than feeling like an actual conversation between people. You can tell that McKinty isn’t American, as well. The conversations didn’t feel like real people talking, and their voices didn’t feel individual to their character. For one example, Marty often called Rachel “Sweetie” in a condescending manner, but then Peter began to do this as well, which didn’t feel like his character at all.
I often felt this lack of consistency or sharpening of detail which only exaggerated the rushed feeling. In terms of quality and development, there are too many missed opportunities that don’t reach their full potential. While the book explores how far you would go to protect the ones you love, Rachel seems to fit into her new role quite easily. She makes a few comments about how it shouldn’t be normal to be having these thoughts and it’s obvious that she’s desperate to get her daughter back, but I didn’t feel the struggle in her head about having to do something so horrible. She was quick to accept what she had to do and wasn’t torn about her decision to go through with it.
Another thing that disrupted my reading was that the chapters weren’t attributed to a character or time. Only a few are given a date stamp in the beginning, but then when the chapters start to skip back years, it isn’t made clear. Written in the third person, it’s also often confusing as to who the chapter is talking about. There’s a lot of “She did this” and “He did that”, so it’s not until halfway through a chapter that you know who you’re reading about, as it feels like you’re observing the characters from afar and don’t know whether this is the case or not.
What I liked about the story is that McKinty explores the story from every angle and tackles many different obstacles in a situation that could have gone in many different ways. Margaret and Oliver are great characters and it’s their evilness that really drives the story. But I wanted to get to know more about them and earlier on. I think it would have worked much better if their chapters were linked in from the beginning, alternating between Rachel and The Chain to show us more from their point of view, as they puppeteer their plan while the story also begins to explore their past. This way, the main twist could have then been played in more slowly and subtly, as it’s pretty obvious what’s coming as soon as Margaret’s character makes her main appearance.
While there’s a lot about this book that I’ve picked apart in my review, I did enjoy reading it and it would make a great holiday read. It would be the ideal story to be adapted into a TV series, so I look forward to the likely possibility of someone developing and expanding upon McKinty’s fantastic concepts.
With a premise that will have you instantly hooked, a brilliant setting and a slow-burning mystery that's full of secrets that you won't see coming, The Holiday is a thriller that you won't easily be able to piece together.
Told mostly from Kate's first-person narrative, with snippets of third-person narratives seen from the points of view of some of the other characters, the book is mostly a domestic drama which is really enjoyable to see play out. But with the word "murder" written on the front cover of the book, you know that there's going to be an element of thriller come into it towards the end, as the pressure slowly begin to rise up.
At first, I didn't understand why we were getting so much insight into an event that began nine months ago as I couldn't see how the stories were going to come together or be relevant. But this is what's so great about that book because it's all there right in front of you; it's just not easy to see the subtle links that begin to build-up until everything is finally revealed.
With likeable characters who each have a flaw to make you question their agenda, they are all easy to relate to. Having all gone off in opposite directions after university, they are now facing different issues in their family and love lives. One couple is worried about her marriage, another about her career, another about her troublesome teenagers, and a singleton who seems--on the surface--to be having it much easier than her friends who are tied down with commitments. And although we only get a glimpse into each of their lives, they all represent something in each of us and are developed well enough to find their shared story an engaging one.
For the quick read that this book is, you get to know all of the characters quite well. But because you don't know where to put your trust, you also find yourself judging their actions, picking them apart and finding fault in their personalities. While it can sometimes be frustrating to not be able to like a character completely when an author makes you suspect them all, I loved getting to analyse them all so intently.
I had no idea where the story was going to go but I loved the building tension, reading it in one sitting to impatiently find out the answers. There are so many secrets that you won't want to put this one down.
Told mostly from Kate's first-person narrative, with snippets of third-person narratives seen from the points of view of some of the other characters, the book is mostly a domestic drama which is really enjoyable to see play out. But with the word "murder" written on the front cover of the book, you know that there's going to be an element of thriller come into it towards the end, as the pressure slowly begin to rise up.
At first, I didn't understand why we were getting so much insight into an event that began nine months ago as I couldn't see how the stories were going to come together or be relevant. But this is what's so great about that book because it's all there right in front of you; it's just not easy to see the subtle links that begin to build-up until everything is finally revealed.
With likeable characters who each have a flaw to make you question their agenda, they are all easy to relate to. Having all gone off in opposite directions after university, they are now facing different issues in their family and love lives. One couple is worried about her marriage, another about her career, another about her troublesome teenagers, and a singleton who seems--on the surface--to be having it much easier than her friends who are tied down with commitments. And although we only get a glimpse into each of their lives, they all represent something in each of us and are developed well enough to find their shared story an engaging one.
For the quick read that this book is, you get to know all of the characters quite well. But because you don't know where to put your trust, you also find yourself judging their actions, picking them apart and finding fault in their personalities. While it can sometimes be frustrating to not be able to like a character completely when an author makes you suspect them all, I loved getting to analyse them all so intently.
I had no idea where the story was going to go but I loved the building tension, reading it in one sitting to impatiently find out the answers. There are so many secrets that you won't want to put this one down.
I've been reading a lot of thrillers recently and often find myself disappointed when they try to make an impact by being extra shocking or disturbing, but that don't succeed in doing so because they forget about development and consistency. But there's none of that nonsense in Teresa Driscoll's I Am Watching You. It's a straightforward thriller with no motive, and because of that, I thoroughly enjoyed it.
The story flows really well so I wasn't in a rush to get through it. I simply enjoyed the journey, which isn't always the case with thrillers. It switches from a first-person narrative by Ella as she witnesses the event, to a mixture of third-person narratives from others involved. This structure really works as you get to see the whole picture of what's going on, while still having Ella and her guilt at the forefront of it all.
The final reveal is slightly disappointing as nothing was really hinted at regarding the culprit, so there could have been more development in that sense. But I Am Watching You isn't the type of thriller that relies on a big twist at the end to impress readers, as the well-told mystery feels more about the effect it's had on those involved, and instead looks at the story from a variety of points of view in search of the truth.
I liked all of the characters and thought they were all developed well, but I did want to hear more about them at the end. Driscoll does attempt to tie up all of her loose ends, and although I was worried that it was wrapping up too quickly when I got to the epilogue with still so much that I wanted to know, it didn't feel rushed. Bu with a focus on Ella and Mrs Ballard, I wanted to know more about how Matthew is looking at his future and for Sarah and Lilly to find some justice. Because I had come to like these characters, I just wanted to see them get better closure for their individual problems.
There are some hard-hitting descriptions of child abuse but I think Driscoll handles the subject well. Again, a better conclusion was needed for this, especially in a time when we are being encouraged to publicly speak about sexual abuse and ensure that abusers don't get away unpunished, but this is my only criticism.
Aside from that, I Am Watching You is an easy story to connect to, especially as a parent, and it's a quick read that--while it may not grip you or fill you with anticipation--will keep you interested in Driscoll's writing.
The story flows really well so I wasn't in a rush to get through it. I simply enjoyed the journey, which isn't always the case with thrillers. It switches from a first-person narrative by Ella as she witnesses the event, to a mixture of third-person narratives from others involved. This structure really works as you get to see the whole picture of what's going on, while still having Ella and her guilt at the forefront of it all.
The final reveal is slightly disappointing as nothing was really hinted at regarding the culprit, so there could have been more development in that sense. But I Am Watching You isn't the type of thriller that relies on a big twist at the end to impress readers, as the well-told mystery feels more about the effect it's had on those involved, and instead looks at the story from a variety of points of view in search of the truth.
I liked all of the characters and thought they were all developed well, but I did want to hear more about them at the end. Driscoll does attempt to tie up all of her loose ends, and although I was worried that it was wrapping up too quickly when I got to the epilogue with still so much that I wanted to know, it didn't feel rushed. Bu with a focus on Ella and Mrs Ballard, I wanted to know more about how Matthew is looking at his future and for Sarah and Lilly to find some justice. Because I had come to like these characters, I just wanted to see them get better closure for their individual problems.
There are some hard-hitting descriptions of child abuse but I think Driscoll handles the subject well. Again, a better conclusion was needed for this, especially in a time when we are being encouraged to publicly speak about sexual abuse and ensure that abusers don't get away unpunished, but this is my only criticism.
Aside from that, I Am Watching You is an easy story to connect to, especially as a parent, and it's a quick read that--while it may not grip you or fill you with anticipation--will keep you interested in Driscoll's writing.
At only 266 pages long, The Apartment is a thriller that you will breeze through. With a brilliant concept and intriguing opening chapter, it’s definitely a book with a lot of potential. But with an unsatisfying ending and a lot of loose ends, I can’t help but feel underwhelmed.
As the book begins to effectively explore themes of mental illness to set up its potentially unreliable narrator, which Slater does with good understanding, it quickly becomes apparent that there is little substance behind this frequently-used plot device. Freya has had a difficult upbringing which is often referred to, as everyone around her is constantly worried that she is too stressed. But nothing comes of the details of her troubled past.
While we are constantly reminded that she’s had it tough, I couldn’t feel the pressure that she was supposed to be under with so many disturbing things going on around her. In the end, the comments about her mental stability are only made to make you question whether she is having another breakdown or not, and because the book is so short, the development isn’t there to explore her mindset comprehensively enough.
Despite the apparent battles going on in her head, Freya is also made to come across as an intelligent woman with a tough exterior. Yet she puts herself into this situation by trusting too easily and often convinces herself to ignore her instincts, which all seems like a contradiction.
It’s a difficult story to fully engage with because you know that the residents of Adder House are involved in Freya’s problems in some way, so there aren’t many likeable characters to connect with. Even Freya is hard to relate to. When she reluctantly lets her daughter have a handful of crisps against her better judgement, my eyes rolled. But I got past that. The story was intriguing enough so I wanted to keep reading.
However, my main problem with the story is the lack of atmosphere. Adder House is not a nice place, but I didn’t feel any of Freya’s fear or the sinisterness of what she was going through. Although she hears crying, sees swarms of flies, notices things moving around the house–all qualities of a classic horror film–it just doesn’t feel scary.
While it has the plot of a psychological thriller, the story itself doesn’t mess with your head enough. There’s a chilling twist, for sure, but it could have been so much darker. A story like this needs to make you scared of reading it in the dark, but the tension wasn’t there for me. Slater seems to shy away from the brutality of the actions of those involved at the end, but what these people did was messed up and that darkness needed to be made the most of.
There’s also a lot left unanswered. I wanted to know more about Freya’s husband and what happened to him, about whether or not his death was linked to the final revelations or not. His death was built up as if it were going to be significant in some way, but we get no explanation for it. I also wanted to know why the details of his affair were relevant. Were they just to give us another potential suspect? And what was the point in the revelation about the Marsdens and the mystery man in their house? Was it all just to put us on the wrong track?
Most of all, I wanted there to be at least another chapter or two after we finally found out what was going on. It wasn’t until the 95% mark that something actually happened, and by then you knew that there wasn’t going to be enough time for it to be rounded up very well.
There were so many points that didn’t come to anything in the end that I was simply left wanting more. There was no in-depth detail, no intensity, no long-lasting effect of the horrible situation that Freya had been put through. There was so much that I was keeping an eye on to see what came of them (like Freya randomly falling asleep), but there was so little explanation in the end that it failed to shock.
There wasn’t enough left to keep you guessing, either, as there was really only one way for the story to go. The subplot of the diary and what happened to baby Albert could have been weaved into the plot much better. It felt randomly pasted into wherever there was room for it which disrupted the flow of the story. And because it felt so misplaced, you knew that it must be directly related to Freya. Without anything left to piece together, the lack of context lost any sense of mystery.
There were still a few exciting twists regarding the who and why which was a really interesting turning point, but the ending happens so fast that the build-up falls flat. Slater just doesn’t take the time to make the most of these final scenes, when the twist could have been used to a much better effect.
I feel bad for picking out so many flaws in Slater’s story, but it’s because the foundations are great. The Apartment attempts a lot of strong thriller traits and you can see that it has good intentions, but it just fails to deliver with a good enough impact.
As the book begins to effectively explore themes of mental illness to set up its potentially unreliable narrator, which Slater does with good understanding, it quickly becomes apparent that there is little substance behind this frequently-used plot device. Freya has had a difficult upbringing which is often referred to, as everyone around her is constantly worried that she is too stressed. But nothing comes of the details of her troubled past.
While we are constantly reminded that she’s had it tough, I couldn’t feel the pressure that she was supposed to be under with so many disturbing things going on around her. In the end, the comments about her mental stability are only made to make you question whether she is having another breakdown or not, and because the book is so short, the development isn’t there to explore her mindset comprehensively enough.
Despite the apparent battles going on in her head, Freya is also made to come across as an intelligent woman with a tough exterior. Yet she puts herself into this situation by trusting too easily and often convinces herself to ignore her instincts, which all seems like a contradiction.
It’s a difficult story to fully engage with because you know that the residents of Adder House are involved in Freya’s problems in some way, so there aren’t many likeable characters to connect with. Even Freya is hard to relate to. When she reluctantly lets her daughter have a handful of crisps against her better judgement, my eyes rolled. But I got past that. The story was intriguing enough so I wanted to keep reading.
However, my main problem with the story is the lack of atmosphere. Adder House is not a nice place, but I didn’t feel any of Freya’s fear or the sinisterness of what she was going through. Although she hears crying, sees swarms of flies, notices things moving around the house–all qualities of a classic horror film–it just doesn’t feel scary.
While it has the plot of a psychological thriller, the story itself doesn’t mess with your head enough. There’s a chilling twist, for sure, but it could have been so much darker. A story like this needs to make you scared of reading it in the dark, but the tension wasn’t there for me. Slater seems to shy away from the brutality of the actions of those involved at the end, but what these people did was messed up and that darkness needed to be made the most of.
There’s also a lot left unanswered. I wanted to know more about Freya’s husband and what happened to him, about whether or not his death was linked to the final revelations or not. His death was built up as if it were going to be significant in some way, but we get no explanation for it. I also wanted to know why the details of his affair were relevant. Were they just to give us another potential suspect? And what was the point in the revelation about the Marsdens and the mystery man in their house? Was it all just to put us on the wrong track?
Most of all, I wanted there to be at least another chapter or two after we finally found out what was going on. It wasn’t until the 95% mark that something actually happened, and by then you knew that there wasn’t going to be enough time for it to be rounded up very well.
There were so many points that didn’t come to anything in the end that I was simply left wanting more. There was no in-depth detail, no intensity, no long-lasting effect of the horrible situation that Freya had been put through. There was so much that I was keeping an eye on to see what came of them (like Freya randomly falling asleep), but there was so little explanation in the end that it failed to shock.
There wasn’t enough left to keep you guessing, either, as there was really only one way for the story to go. The subplot of the diary and what happened to baby Albert could have been weaved into the plot much better. It felt randomly pasted into wherever there was room for it which disrupted the flow of the story. And because it felt so misplaced, you knew that it must be directly related to Freya. Without anything left to piece together, the lack of context lost any sense of mystery.
There were still a few exciting twists regarding the who and why which was a really interesting turning point, but the ending happens so fast that the build-up falls flat. Slater just doesn’t take the time to make the most of these final scenes, when the twist could have been used to a much better effect.
I feel bad for picking out so many flaws in Slater’s story, but it’s because the foundations are great. The Apartment attempts a lot of strong thriller traits and you can see that it has good intentions, but it just fails to deliver with a good enough impact.
With a great premise that led me to choose this book for my Amazon First Reads selection this month, there are some really interesting concepts used in Labuskes detective thriller. Welcoming us into a small town with its own rules and a religious group that seem more like a cult, your curiosity instantly grows, just like it does for FBI special agent Lucy Thorne.
Having a girl admit to a murder and then remain mute at the beginning of the story is a really intriguing plot device. But using such a mechanism so early also means that you're constantly on the lookout to see whether it makes any sense in the bigger picture, or if it has merely been used to create some suspension early on. And I'm sad to say that I don't think the justifications for Eliza's actions were enough, with the plot device only working to drag the story out. Labuskes ties up all of her loose ends and makes an effort to explain Eliza's reasoning at the end, but it just didn't fill that gap for me.
I liked the lead character of Lucy, but I did hope to get to know her a little more personally. At the start of the book, Lucy's boss says, “You have to promise—don’t get sucked in, Lucy. I mean it. Obsessions get people killed.” Maybe the comment was just to link to the obsessions involved in the case, but I thought we were going to find out something about Lucy's past, something that happened to her that drives her ambition and interest in certain cases. But we didn't get to know anything about her outside of this crime, so I couldn't relate to her as well as I wanted to. The synopsis says that "Getting to the truth is becoming Lucy's obsession", but I didn't feel that, either. She's good at her job, but I didn't get the impression that this case meant a lot to her, especially when no personal connections were made.
Seeing the story mostly from her point of view as she tries to figure everything out, we really get to understand what's going on in her head. But this also became a little repetitive at times. There are a couple of main things that she needs answers to: "Why confess to a crime you didn’t commit?", "A motive would be nice.", and "Connections. Which ones were important?". These prases are often repeated throughout the story as Lucy tries to get things to make sense in her head, but I found this repetition a little tedious; I just wanted her to get on with it.
Her Final Words is a good mystery and it definitely kept me guessing. I especially liked the reveal of why the culprit was committing these crimes which I thought was a really unique approach. But I wasn't gripped by the investigation; I wasn't eager to find out what was going on. It wasn't that I grew bored, just impatient, as the writing constantly goes the long way around. Lucy constantly questions what things mean. Is it this? Is it that? Could it be something else? Why would it be that when there's no reason for it to be? There's a lot of back and forth in her thought process, and I quickly became bored by her lack of self-belief. There's also a lot of fragmented dialogue: “Why?” / “Why what?” he asked. / “Why did you think it was interesting?” If Labuskes' narrative was more to the point and the dialogue was tighter, I would have had a lot more interest in finding out the answers.
There's a lot I like about this book. Labuskes is a good writer and I really like her ideas. I just struggled to get through her attempt to make the story longer than what was necessary. If it were more concise, possibly even a little more hard-hitting and threatening since it has such a dark setting already, I would have really loved it.
Having a girl admit to a murder and then remain mute at the beginning of the story is a really intriguing plot device. But using such a mechanism so early also means that you're constantly on the lookout to see whether it makes any sense in the bigger picture, or if it has merely been used to create some suspension early on. And I'm sad to say that I don't think the justifications for Eliza's actions were enough, with the plot device only working to drag the story out. Labuskes ties up all of her loose ends and makes an effort to explain Eliza's reasoning at the end, but it just didn't fill that gap for me.
I liked the lead character of Lucy, but I did hope to get to know her a little more personally. At the start of the book, Lucy's boss says, “You have to promise—don’t get sucked in, Lucy. I mean it. Obsessions get people killed.” Maybe the comment was just to link to the obsessions involved in the case, but I thought we were going to find out something about Lucy's past, something that happened to her that drives her ambition and interest in certain cases. But we didn't get to know anything about her outside of this crime, so I couldn't relate to her as well as I wanted to. The synopsis says that "Getting to the truth is becoming Lucy's obsession", but I didn't feel that, either. She's good at her job, but I didn't get the impression that this case meant a lot to her, especially when no personal connections were made.
Seeing the story mostly from her point of view as she tries to figure everything out, we really get to understand what's going on in her head. But this also became a little repetitive at times. There are a couple of main things that she needs answers to: "Why confess to a crime you didn’t commit?", "A motive would be nice.", and "Connections. Which ones were important?". These prases are often repeated throughout the story as Lucy tries to get things to make sense in her head, but I found this repetition a little tedious; I just wanted her to get on with it.
Her Final Words is a good mystery and it definitely kept me guessing. I especially liked the reveal of why the culprit was committing these crimes which I thought was a really unique approach. But I wasn't gripped by the investigation; I wasn't eager to find out what was going on. It wasn't that I grew bored, just impatient, as the writing constantly goes the long way around. Lucy constantly questions what things mean. Is it this? Is it that? Could it be something else? Why would it be that when there's no reason for it to be? There's a lot of back and forth in her thought process, and I quickly became bored by her lack of self-belief. There's also a lot of fragmented dialogue: “Why?” / “Why what?” he asked. / “Why did you think it was interesting?” If Labuskes' narrative was more to the point and the dialogue was tighter, I would have had a lot more interest in finding out the answers.
There's a lot I like about this book. Labuskes is a good writer and I really like her ideas. I just struggled to get through her attempt to make the story longer than what was necessary. If it were more concise, possibly even a little more hard-hitting and threatening since it has such a dark setting already, I would have really loved it.
Alex Michaelides’ debut book is the kind of thriller that you won’t be able to put down. It’s the definition of a page-turner. With short, punchy chapters and a quick pace, it’s easy to devour in one sitting. And boy, will you want to find out how it all ends.
The premise is absolutely incredible and it’s the reason why I wanted to read this book so eagerly. It’s so intriguing and even before you get to know the characters, you start to wonder what has happened to Alicia to make her mute and what truth she has to unveil. I was instantly hooked. It also helped to know that there was going to be a huge twist at the end, with every review I had read of this book saying that the reader was left absolutely gobsmacked, so I was incredibly excited to get to find out what happens for myself.
However, the trouble with stories regarding therapy, mental institutes and mental illness is that you know to expect a lot of unreliability. So, you spend your time reading thinking who’s lying? What are we not being told? It’s not always a bad narrative technique to use as that’s where the suspense comes from. But when you’re a fan of psychological thrillers and you know the tell-tale signs, it’s also the reason why you’re not always as surprised you hoped to be. Because of that, I guessed the twist with about 90 pages left. Not because it’s obvious or predictable, just because I’ve read/seen something similar before.
When you guess a twist ending, sometimes you can be filled with joy that you got it right. But I was left feeling sad. I read the final few chapters and just looked at my husband and pulled a sad face. “I was right,” I said. “Was it bad?” he replied. No, not at all. But I just feel like I missed out on having that same reaction that many other readers got to enjoy.
Of course, while I guessed the main part of the twist, there was still a lot around the main reveal that I hadn’t even thought about. It’s incredibly clever and well-thought-out, with enough going on to keep you impressed even if you did figure out what was going on too early.
It’s also a book that is obviously very well-researched. What I liked most about it was the therapeutic lessons that the narrator gives, giving readers an insight into the mind of a murderer. There were a few quotes that really stood out to me about how the care we receive can affect the care that we give, no matter at what age we experience these kinds of emotions.
“No one is born evil. As Winnicott put it, ‘A baby cannot hate the mother, without the mother first hating the baby.'”
It’s discussions like this that got me thinking about my own children and emotions and the [good/caring/loving] influence I want to give them. It’s always a bonus when a book can make you think about things on a personal level, and although this wasn’t the core of the story, it shows that Michaelides gives a lot of attention to the smaller details.
The story was wrapped up a little too quickly for my liking, though. I even flicked back a few pages just to make sure that I hadn’t missed anything. It’s not that there was anything majorly unresolved, just that I would have liked to see more of what happened next regarding Alicia.
Nevertheless, I thoroughly enjoyed reading this and although it has similarities to thrillers of its kind, it’s still a story full of originality and complexity that’s told in a really interesting way. I will definitely be looking out for Alex Michaelides’ next release.
The premise is absolutely incredible and it’s the reason why I wanted to read this book so eagerly. It’s so intriguing and even before you get to know the characters, you start to wonder what has happened to Alicia to make her mute and what truth she has to unveil. I was instantly hooked. It also helped to know that there was going to be a huge twist at the end, with every review I had read of this book saying that the reader was left absolutely gobsmacked, so I was incredibly excited to get to find out what happens for myself.
However, the trouble with stories regarding therapy, mental institutes and mental illness is that you know to expect a lot of unreliability. So, you spend your time reading thinking who’s lying? What are we not being told? It’s not always a bad narrative technique to use as that’s where the suspense comes from. But when you’re a fan of psychological thrillers and you know the tell-tale signs, it’s also the reason why you’re not always as surprised you hoped to be. Because of that, I guessed the twist with about 90 pages left. Not because it’s obvious or predictable, just because I’ve read/seen something similar before.
When you guess a twist ending, sometimes you can be filled with joy that you got it right. But I was left feeling sad. I read the final few chapters and just looked at my husband and pulled a sad face. “I was right,” I said. “Was it bad?” he replied. No, not at all. But I just feel like I missed out on having that same reaction that many other readers got to enjoy.
Of course, while I guessed the main part of the twist, there was still a lot around the main reveal that I hadn’t even thought about. It’s incredibly clever and well-thought-out, with enough going on to keep you impressed even if you did figure out what was going on too early.
It’s also a book that is obviously very well-researched. What I liked most about it was the therapeutic lessons that the narrator gives, giving readers an insight into the mind of a murderer. There were a few quotes that really stood out to me about how the care we receive can affect the care that we give, no matter at what age we experience these kinds of emotions.
“No one is born evil. As Winnicott put it, ‘A baby cannot hate the mother, without the mother first hating the baby.'”
It’s discussions like this that got me thinking about my own children and emotions and the [good/caring/loving] influence I want to give them. It’s always a bonus when a book can make you think about things on a personal level, and although this wasn’t the core of the story, it shows that Michaelides gives a lot of attention to the smaller details.
The story was wrapped up a little too quickly for my liking, though. I even flicked back a few pages just to make sure that I hadn’t missed anything. It’s not that there was anything majorly unresolved, just that I would have liked to see more of what happened next regarding Alicia.
Nevertheless, I thoroughly enjoyed reading this and although it has similarities to thrillers of its kind, it’s still a story full of originality and complexity that’s told in a really interesting way. I will definitely be looking out for Alex Michaelides’ next release.
Rich in detail in both setting and character development, The Guest List is a tense, atmospheric, and engaging thriller that’s slow-burn will leave you open-mouthed in shock. Like the guests, you are completely left in the dark until the book’s explosive ending. There’s no guessing who’s done it this time; first, you have to guess who’s body has been found. Is it a murder committed out of vengeance? Or has somebody succeeded in keeping their secret in their past? There are so many twists in this exhilarating thriller that it is certainly one that will be hard to top this year.
Told in short chapters through four alternating narrations – The Bride, The Bridesmaid, The Plus One, and The Best Man – the story comes together through lavish character descriptions and in-depth details that lead up to the event of the big day. I don’t normally like reading a book with too many points of view, but Foley uses this narrative technique impeccably well. Every narrator stands out on their own, so there’s no confusion over who said what or in regards to their interlinking relationships with the other guests.
And because it’s not about guessing who’s behind the murder, Foley, instead, gives so much attention to her characters and their pasts that you feel a personal connection to them all. Jules is high-maintenance but you come to understand her resentment, you know there’s something behind Will’s controlled front but you feel his seductive persona just like every other person, Olivia is fragile and you can feel every ounce of her pain, Hannah is in a bit of a rut and looking forward to feeling like her old self again (which I related to most of all), and you even begin to feel for Johnno who is trying to prove that he’s not just Will’s less handsome, intelligent and rich sidekick. Getting to like each character (or dislike, in some cases), this also means that you become more and more invested in how it’s all going to end and your intrigue constantly grows stronger.
I recently read And Then There Were None, Agathe Christie’s classic thriller that is also set on a remote island, so this definitely has a similar feel to it. But what’s so strikingly different about the two styles of storytelling is that Foley doesn’t reveal who has actually died until near the end. This isn’t a simple whodunnit as it’s impossible to guess who the murderer is when you don’t know who the victim is. And there are plenty of options for both. I made a wild guess halfway through and was almost right, but there are still so many other twists and revelations that I hadn’t even thought about, that the final third of the book completely takes you by surprise.
While I was a little frustrated at the start of the book because you really don’t know what’s going on in the present, the final third of the book is so tense that I ended up loving having so much come together in a short amount of time at the end. However, with there being so many possible culprits and motives, as each narrator ends up having a reason to be driven to murder but also for somebody else to want to shut them up, we are given so much build-up to each character that there isn’t enough time for all of their stories to be rounded up. While one story is concluded well with the revelation of who the murderer is and of their motive, the other characters have their endings rushed, so I do wish that there was a little more time spent on giving them closure.
Aside from that, The Guest List was a refreshing and invigorating journey to take, and I look forward to reading more by Lucy Foley, who obviously knows how to handle the genre in an original and exciting way.
Told in short chapters through four alternating narrations – The Bride, The Bridesmaid, The Plus One, and The Best Man – the story comes together through lavish character descriptions and in-depth details that lead up to the event of the big day. I don’t normally like reading a book with too many points of view, but Foley uses this narrative technique impeccably well. Every narrator stands out on their own, so there’s no confusion over who said what or in regards to their interlinking relationships with the other guests.
And because it’s not about guessing who’s behind the murder, Foley, instead, gives so much attention to her characters and their pasts that you feel a personal connection to them all. Jules is high-maintenance but you come to understand her resentment, you know there’s something behind Will’s controlled front but you feel his seductive persona just like every other person, Olivia is fragile and you can feel every ounce of her pain, Hannah is in a bit of a rut and looking forward to feeling like her old self again (which I related to most of all), and you even begin to feel for Johnno who is trying to prove that he’s not just Will’s less handsome, intelligent and rich sidekick. Getting to like each character (or dislike, in some cases), this also means that you become more and more invested in how it’s all going to end and your intrigue constantly grows stronger.
I recently read And Then There Were None, Agathe Christie’s classic thriller that is also set on a remote island, so this definitely has a similar feel to it. But what’s so strikingly different about the two styles of storytelling is that Foley doesn’t reveal who has actually died until near the end. This isn’t a simple whodunnit as it’s impossible to guess who the murderer is when you don’t know who the victim is. And there are plenty of options for both. I made a wild guess halfway through and was almost right, but there are still so many other twists and revelations that I hadn’t even thought about, that the final third of the book completely takes you by surprise.
While I was a little frustrated at the start of the book because you really don’t know what’s going on in the present, the final third of the book is so tense that I ended up loving having so much come together in a short amount of time at the end. However, with there being so many possible culprits and motives, as each narrator ends up having a reason to be driven to murder but also for somebody else to want to shut them up, we are given so much build-up to each character that there isn’t enough time for all of their stories to be rounded up. While one story is concluded well with the revelation of who the murderer is and of their motive, the other characters have their endings rushed, so I do wish that there was a little more time spent on giving them closure.
Aside from that, The Guest List was a refreshing and invigorating journey to take, and I look forward to reading more by Lucy Foley, who obviously knows how to handle the genre in an original and exciting way.
I’m a big fan of C.L. Taylor and have loved her other books, so I was excited to pick up a new one. However, I didn’t love this. The plot itself is brilliantly thought out and I couldn’t figure out who thee murderer was at all. I thought I had it sussed out but there are a couple of great twists used that throw you off more than once. But I just couldn’t connect with the characters.
The problem I had was that I didn’t get to know Anna well enough. Usually, Taylor ensures that you really get into the head of her characters. While I felt Anna’s guilt and fear, I couldn’t engage with her. I just couldn’t get a picture of her in my mind, and instead was imagining a combination of traits from Taylor’s other female-led stories, which is probably why I felt so distant from her.
The setting is also underused. I didn’t feel the claustrophobic atmosphere of being stuck on a remote island with a killer or the feel of the stormy weather. The feelings of the characters are certainly explored well, but I think the setting could have really intensified the story if used better.
Still, Sleep is a gripping thriller and there’s no doubt that Taylor knows how to keep you intrigued. I may not have enjoyed this book as much as her others, but she’s definitely a fantastic writer that I will always be excited by.
The problem I had was that I didn’t get to know Anna well enough. Usually, Taylor ensures that you really get into the head of her characters. While I felt Anna’s guilt and fear, I couldn’t engage with her. I just couldn’t get a picture of her in my mind, and instead was imagining a combination of traits from Taylor’s other female-led stories, which is probably why I felt so distant from her.
The setting is also underused. I didn’t feel the claustrophobic atmosphere of being stuck on a remote island with a killer or the feel of the stormy weather. The feelings of the characters are certainly explored well, but I think the setting could have really intensified the story if used better.
Still, Sleep is a gripping thriller and there’s no doubt that Taylor knows how to keep you intrigued. I may not have enjoyed this book as much as her others, but she’s definitely a fantastic writer that I will always be excited by.
A detective thriller set in an abandoned asylum? There was no hesitation as to which book I was picking for this month's first reads selection. But while The Bone Jar is a well-written and complex thriller which I really looked forward to unravelling, I didn't love it. Still, I don't feel comfortable talking it down because it's a tremendous effort for a first-time author.
With a lot happening, the book takes a while to get into as there are three or four stories going on at once with many different characters being introduced or mentioned by name. But once the stories are weaved together a little better, the narration begins to unfold through two main points of view - Detective Kirby and his formal investigation, and urban explorer Connie Darke, who is determined to help Lew expose the asylum's grisly past.
With the setting of the asylum taking precedence, the book is very atmospheric. The chilling atmosphere certainly put me on edge reading it in the dark as I lay worrying about a creeper. The asylum is described well, but it wasn't overly haunting. You can tell that Kane has an MA in Creative Crime Writing, though, as there are a lot of details in the process of the police work which I enjoyed reading about. However, the details are more around the talk in the office and instructions/process of how to keep an investigation moving forward, rather than anything too dark or gritty.
Although there are a lot of names to get your head around at first, the story is well-paced and progresses quickly, always giving new information to keep your mind ticking along with the investigation. It's definitely a story that keeps you interested and wanting to read on, even if it might not grip you entirely. You can see hints being made that you know are going to be revealed later on, so it's obvious that Kane is a great writer as The Bone Jar is certainly a well-developed and mysterious thriller.
Alongside the investigation, we also get a glimpse into the lives of Lew and Connie outside of their work. Connie is an "Urbex" - an urban explorer - relating to Kane's own fascination with the hobby which has inspired elements of her book. I found this really interesting to learn about. Kane obviously thought about how to give her crime thriller a unique angle, and this definitely helps to give her story a slight edge, especially as she's writing about something that she has a lot of knowledge about.
We also get to learn about Lew's family life as he discovers a devastating family secret that threatens to turn his life upside down. It's great that Kane allows us to get to know him more personally. However, I still don't think that we got to see him in a more relaxed state, so it was difficult to warm to him as much as I would have liked to.
What I liked most about this book is that Kane takes the time to tie up all of her loose ends. Too often, thrillers reveal the killer and rush the final chapters, neglecting to answer all of the questions that the author has built up to. But Kane spends a few chapters paying attention to these details. While I kept expecting the story to draw to a close after finding out who was behind the murders, I appreciate the time spent on the characters in the aftermath of it all. It manages to tie everything up successfully, while also setting a few things up for future Detective Lew Kirby instalments.
I'm certainly intrigued to learn more about him (and possibly Connie?) anyway, so I will definitely be looking out for the next instalment in this new detective series.
With a lot happening, the book takes a while to get into as there are three or four stories going on at once with many different characters being introduced or mentioned by name. But once the stories are weaved together a little better, the narration begins to unfold through two main points of view - Detective Kirby and his formal investigation, and urban explorer Connie Darke, who is determined to help Lew expose the asylum's grisly past.
With the setting of the asylum taking precedence, the book is very atmospheric. The chilling atmosphere certainly put me on edge reading it in the dark as I lay worrying about a creeper. The asylum is described well, but it wasn't overly haunting. You can tell that Kane has an MA in Creative Crime Writing, though, as there are a lot of details in the process of the police work which I enjoyed reading about. However, the details are more around the talk in the office and instructions/process of how to keep an investigation moving forward, rather than anything too dark or gritty.
Although there are a lot of names to get your head around at first, the story is well-paced and progresses quickly, always giving new information to keep your mind ticking along with the investigation. It's definitely a story that keeps you interested and wanting to read on, even if it might not grip you entirely. You can see hints being made that you know are going to be revealed later on, so it's obvious that Kane is a great writer as The Bone Jar is certainly a well-developed and mysterious thriller.
Alongside the investigation, we also get a glimpse into the lives of Lew and Connie outside of their work. Connie is an "Urbex" - an urban explorer - relating to Kane's own fascination with the hobby which has inspired elements of her book. I found this really interesting to learn about. Kane obviously thought about how to give her crime thriller a unique angle, and this definitely helps to give her story a slight edge, especially as she's writing about something that she has a lot of knowledge about.
We also get to learn about Lew's family life as he discovers a devastating family secret that threatens to turn his life upside down. It's great that Kane allows us to get to know him more personally. However, I still don't think that we got to see him in a more relaxed state, so it was difficult to warm to him as much as I would have liked to.
What I liked most about this book is that Kane takes the time to tie up all of her loose ends. Too often, thrillers reveal the killer and rush the final chapters, neglecting to answer all of the questions that the author has built up to. But Kane spends a few chapters paying attention to these details. While I kept expecting the story to draw to a close after finding out who was behind the murders, I appreciate the time spent on the characters in the aftermath of it all. It manages to tie everything up successfully, while also setting a few things up for future Detective Lew Kirby instalments.
I'm certainly intrigued to learn more about him (and possibly Connie?) anyway, so I will definitely be looking out for the next instalment in this new detective series.
I bought my husband this book for Christmas as we both loved This Is Going To Hurt, but I've only just got around to reading it myself.
A quick read that only took me a few hours, Twas The Nightshift Before Christmas may be short, but it's an entertaining read that makes you feel all the emotions. While This Is Going To Hurt is ultimately the "best of" compilation, this is still both laugh-out-loud-funny and heart-achingly sad.
As Adam goes on to detail five consecutive years having to work for the NHS on Christmas Day, it's another insightful look into the lives of NHS workers and the commitment they have to give. It's something we all need to be aware of, especially around holiday periods.
It's only a short read, but Twas The Nightshift Before Christmas is undeniably a gift that needs giving. I've read it during the middle of the year and still thoroughly enjoyed it, but this is the perfect stocking filler if you're already thinking about gifts for next year.
A quick read that only took me a few hours, Twas The Nightshift Before Christmas may be short, but it's an entertaining read that makes you feel all the emotions. While This Is Going To Hurt is ultimately the "best of" compilation, this is still both laugh-out-loud-funny and heart-achingly sad.
As Adam goes on to detail five consecutive years having to work for the NHS on Christmas Day, it's another insightful look into the lives of NHS workers and the commitment they have to give. It's something we all need to be aware of, especially around holiday periods.
It's only a short read, but Twas The Nightshift Before Christmas is undeniably a gift that needs giving. I've read it during the middle of the year and still thoroughly enjoyed it, but this is the perfect stocking filler if you're already thinking about gifts for next year.