A chilling suspense novel about guilt, responsibility, and redemption.
A neglected girl commits an unspeakable crime and, as an adult, wonders if she can find redemption.
British writer Tucker wastes no time grabbing the reader in her chilling debut novel. “I killed a little boy today. Held my hands around his throat, felt his blood pump hard against my thumbs. He wriggled and kicked....I roared. I squeezed.” The murderer is 8-year-old Chrissie, who is trying to navigate an unimaginably hard and lonely life. Her mother doesn’t feed her—Chrissie is quite literally starving—and tries to give her away. Her mostly absent father offers only empty promises. Chrissie finds relief in frenzied bursts of action that make her feel powerful: Acting as milk monitor at school (so she can drink the dregs from each bottle). Stealing candy from the shop. Bossing and bullying the neighborhood kids. Even strangling the little boy is her way of saying “I am here, I am here, I am here.” But the empathetic Tucker gives the adult Chrissie a voice, too: Twenty years later with a new name and a daughter of her own, Chrissie, now Julia, is out in the world again and struggling with guilt. She loves her daughter but doubts herself and fears authorities will take the girl away. The chapters alternate between the child and adult perspectives, and Tucker builds almost unbearable tension in both timelines as the police circle closer to young Chrissie and the past pulls adult Chrissie back to the scene of her crime. This novel is a riveting thriller in every sense, but Tucker is asking big questions, too. Can society forgive the unforgivable? Does everyone deserve a second chance? She forces us to reconsider the perils of poverty and neglect.
A chilling suspense novel about guilt, responsibility, and redemption.Pub Date: May 18, 2021
ISBN: 978-0-593-19156-9
Page Count: 352
Publisher: Riverhead
Review Posted Online: March 2, 2021
Kirkus Reviews Issue: March 15, 2021
Amateurish, with a twist savvy readers will see coming from a mile away.
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. 3, 2018
Kirkus Reviews Issue: Nov. 15, 2018
BOOK REVIEW
BOOK REVIEW
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
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