Two sisters, September and July, just 10 months apart in age but sticking together like twins, even more, just as if they were only one person. In Oxford, where they first lived with their mother, an author of children’s books featuring two girls just like her own daughters, they were always in trouble and didn’t make friends with the other kids. By moving to the old family house, their mother hopes things will get easier. However, the spooky surroundings with walls who could tell decades of dark stories, triggers something between the girls which makes their unhealthy bond even more dangerous for the younger and weaker of the two sisters.
Daisy Johnson portrays a sisterly connection which goes far beyond what is known to link siblings. The fact that the girls are born within only a couple of months makes them grow up and experience everything together. They are like one person separated incidentally, also their character seems to have split in the two: September the wild and furious one, July, in contrast, obedient and more thoughtful. Since she is younger, she easily gives in to her sister’s will and thus follows without ever challenging her.
The atmosphere is gloomy in every line. Right from the start, you sense that some catastrophe is looming and just waiting to present itself. Even though at times, the sisterly bond also seems to be protective, the negative impact is obvious. Their mother is detached, she suffers from a depression which makes it impossible for her to see what is coming, she senses that the relationship her daughters have formed in detrimental, even harmful for July, but she is unable to do something about it.
An intense and vivid narrative with quite some eerie notes.
The unnamed narrator is visiting a friend with terminal cancer who is in hospital in another town. She stays with a retired librarian with a cat but her host is quite reclusive and they hardly have any contact during her stay. Between the visits, she ponders about other people in her life: her former partner of whom she attends a public speech on the dystopian future we are facing, her old neighbour who can hardly manage alone, a woman she met in her gym who went through drastic changes, each of them starting point for another in-depth reflection. Her encounters reflect the whole range of people and therefore also introduce pestering issues of our time: the way women are judged and how their position in society and in a family is seen, how we treat the elderly and – the most important aspect – how do we want to die and what will remain of us. Quite unexpectedly, her poorly friend asks her a favour which will target core questions the narrator cannot easily answer for herself.
Just as in her former novel “The Friend”, it is a minor event – then an abandoned dog, here a visit to the hospital – which initiates an interesting journey into the depth of human nature. The narrator’s experiences and encounters are analysed and questioned, it is an introspection which nevertheless is far from very individual and personal but, quite on the contrary, concerns everybody. Especially being close to a dying friend has a huge impact on her thinking, far beyond the question if we should rather ask “What are you going through” instead of “How are you”.
The core issue revolves around suffering and pain and the question how much a human being can endure. How do you go on living in a world which does not seem to have a future, at least not an interesting or desiring one. The plot is minimal, at times rather feels like a collection of anecdotes, but looking at it as a whole, you get an idea of the protagonist who is sad, to a certain extent disillusioned, but not grim. She is still capable of attachment and fondness, even though she knows that it won’t last this time. Every single word becomes meaningful and should be use with care therefore.
Repeatedly, Nunez also has her narrator share her reading experiences with the reader and thus transgresses the boundaries of genres once more. She certainly pushes the limits in many respects and engages the reader in thinking. One of the most interesting questions for me was the one rotating around the problem of what can be reported and by whom the act of narration should be carried out, especially when it comes to experiences of general interest. The narrator questions if there is even a language capable of conveying experiences adequately or if, in the end, all language must fail to authentically depict what somebody underwent.
Nunez’ language surely is plentiful enough to engage you in an interesting inner – and hopefully also outer – dialogue.
As a single mother with a highly sensitive 8-year-old son and a very tight financial situation, Ruth already has a lot to carry. When one morning she comes across Rob in front of the school where she works as a secretary, she cannot believe what she sees: the man who pretended to be single when she spent a night with him obviously is happily married with kids. Ruth is furious and so is Janine, Rob’s wife, when she realises what she is witnessing. Ruth made her biggest enemy with Janine, the one woman in the community who is great at networking and friends with everybody. The same day, the school gets a letter demanding Ruth’s lay-off because of how she behaved in front of children. But this is only the beginning of a totally nasty fight.
Zoe Lea’s novel is a real page turner. It is unbelievable what happens to Ruth who seems to be a caring mother who’d do anything for her boy and who only tries to live a decent life after the divorce. Nobody wants to believe her and everything is simply turned around making her appear to be to aggressor. The most awful thing is that you get the impression that money and power are more important than the truth and that those who are already at the end of the food chain hardly have a chance to be heard and taken seriously.
A fast paced novel that was hard to put down. I was hooked immediately and liked the development of the events, a downward spiral which once set in motion couldn’t be stopped anymore. With each chapter, Ruth’s actions became more drastic since she was pushed more and more in a corner and like a threatened animal, did not see another way out of the menacing situation. Yet, her character is not too obvious, I started questioning her more and more towards the end which, actually, I totally liked since I couldn’t be too sure about what to believe anymore.
A woman kills herself, her husband and their small son. What has led her to poison their dinner? They are a well-off Parisian family with a successful husband and lovely kid living in a beautiful apartment. What people cannot see is the inside, the inside of the family home and especially the inside of Marie who has been struggling for years to keep her secret well shut behind a friendly facade: she was raped by her CEO after work one evening and is convinced that Thomas is the result of the assault and not her husband’s son. Every day, she has to look in the eye of the small boy and is confronted again with what happened and what she cannot share with anybody. It is not the tragic story of a family, but the heart-breaking story of a woman not just suffering once from the humiliation and attack, but suffering every single day of her life.
Inès Bayard’s novel is one of the most moving and highly disturbing books I have ever read. She starts with the final step of Marie’s desolate and lonely voyage, no surprise where it all will end up, but the way there could hardly be more painful, more emotionally challenging and nevertheless easy to understand and follow.
Marie feels ashamed for what has happened to her, for her body after giving birth, for her behaviour towards her husband. She does not see herself as the victim she is, immediately, after the assault, she has taken the decision to comply with her assailant’s threat not to tell anybody and thinks she now has to stick to it. Her mental state is gradually deteriorating and Bayard meticulously narrates the downwards spiral. Looking at her from the outside, you can see that she is trapped in an unhealthy mental state that she has established and which is completely wrong but yet, it is so understandable how she comes to those conclusions and this almost paranoid view of her situation.
She does not get help or support, nobody even seems to notice her suffering, only when the signs become too obvious is suspicion raised. There might have been ways out of her depression and misery, but she cannot take these roads and thus needs to face her ultimate fate which does not entail living an option.
Without any doubt, Marie is a victim in several respects. But so is her son Thomas and he is the poor boy without any chance to escape or change his fate, he is exposed helplessly to his mother’s hatred which seems unfair, but I think it is not difficult to understand what she sees in him. Is her husband Laurent to blame? Hard to say, the same accounts for Marie’s mother who didn’t do anything other than just cover the traces of her daughter’s state when she becomes aware of it, she does not offer help when it was most needed.
The novel is a wonderful example for what such an event can do to people, how they struggle to survive and hide what has happened. It is deeply moving and frightening to observe which is also due to the author’s style of writing.
Jess is the absolute role model of a mother, her friends have always admired her diligence and devotion to care for her two sons. When she unexpectedly gets pregnant with a third kid, her husband is over the moon but she does not really share his enthusiasm, she knows how demanding kids can be even for a home-stay-mom. When Betsey indeed turns out to be a rather challenging child, Jess loses her temper, the less she can control the girl, the easier she freaks out until she even gets close to wanting her dead. Her friends Liz, a paediatrist, senses that things do not go too well, but with her own kids and her job, she does not have the time to really take look into the situation. When one evening Jess turns up in the emergency room with Betsey showing obvious signs of neglect and being severely hurt, Liz is trapped between being a friend for Jess and informing the police. How well does she actually know what is going on at her friend’s home?
Sarah Vaughan masterly plays with truths, half-truths and all the things her characters consider truths. Told from different points of view, the reader over and over again gets caught in a trap by making sense of what you know and deciding on what and how the tragic incident happened. Forget it, you are completely wrong since – just as in real life – there is so much more.
Even though the main focus is on the one big question around Betsey’s injuries, the author addresses a lot of questions going far beyond the crime plot. The struggle of women who feel pressure to be the perfect wife, perfect mother, have a successful career and who easily prepare parties with exquisite food is palpable throughout the novel. The four women at the centre all struggle with complying with expectations and their very own goals and ideals. Showing weakness does not seem to be an option, just like asking for help and thus, precarious and even dangerous circumstances are silently endured. Additionally, the question of how far a friendship should or must go is tackled. Liz’ remorse is easy to understand and certainly nobody could ever wish to get into such a situation.
I totally adored the novel, after “Anatomy of a Scandal”, another thoroughly convincing plot with authentic characters and a lot of suspense.
Two 12-year-old girls have been murdered, but except for their parents, nobody really seems to care about it. Maybe they had it coming, that’s how it is with girls their age, they should have paid more attention to whom they mingle with. Eve Taggert is not willing to simply accept that her daughter Junie has gone and nobody is hold responsible for the senseless death. What did she and her friend Izzy do in the park at that time and bad weather? She starts to ask questions even though her brother Cal, a policeman and close to the investigation, tries to keep her away and out of trouble which her private research soon causes. The more Eve learns, the closer she also gets to her own family and especially her mother with whom she had cut all contact before Junie was born because she never wanted to be like her. But in the course of the events, Eve must realise that she shares more traits with her mother than she ever expected.
Amy Engel’s mystery novel deals with the greatest horror that parents could ever go through: learning about the death of their beloved child and having the impression that nobody bothers to find the culprit and to bring him or her to justice. However, it is also about life in small and remote community where poverty and precarious standards of living are a daily occurrence. Growing up in trailer homes or small, run-down apartments where children only get a nook for themselves and see the adults drink alcohol or being addicted to drugs of all kinds – this is not the childhood one could ever wish for. Even if some want the best for their children, just like Eve, getting out of this isn’t as easy as it seems.
The story is narrated from Eve’s point of view which gives you a deep insight in the emotions she goes through. Not just losing her daughter and thus the sense of life, but she also falls back into old patterns she had given up and totally loses her footing. Even though she could not offer Junie much, she put an effort in her daughter’s education and she lead a decent life and loved her – more than she herself had experienced as a kid. To see such a woman being hit by fate is especially bitter.
Amy Engel does a great job in showing the development of Eve, going from being totally blinded by mourning and anger to gaining strength – even if she becomes a bit too reckless and headless at times – and in the end, fearlessly doing what she needs to do.
Notwithstanding that a lot is going wrong in the small town of Barren Springs, what I liked a lot is that the author did not paint the characters in black and white. The greatest villains do also show their positive and human sides – just as the “good” ones suddenly are capable of quite some crime. Albeit a murder investigation is at the centre of the novel, for me it was much more a psychological study of small town life and people who struggle in life. It does not lack suspense though and several unexpected twists and turns keep you reading on.
Agnes had so many hopes for her life. Her first husband was simply a disappointment, too well-behaved, too boring. With Shug Bain things could be different. But soon she wakes up still in her childhood room with her parents, aged 39 and mother of three kids. Shug promises a better life and rents them a home in a run-down public housing area on the outskirts of Glasgow. Yet, Shug does not really move in with his family, he is driving his taxi more and more often and spends his free time with other women. Soon enough, Agnes finds comfort in alcohol, her new neighbourhood is the perfect place to drown your thoughts and worries in cans of beer. Shuggie’s older brother Leek and his sister Catherine can distance themselves from their always intoxicated mother, yet, Shuggie is too young and for years, he hopes that one days, Agnes will be sober and they will have a life like any normal family.
Douglas Stuart’s novel is really heart-wrenching. You follow Shuggie’s childhood in the 1980s, a time when life was hard for many working class families who often did not know how to make ends meet which drove many fathers and mothers to alcohol. Shuggie’s love for his mother is unconditional, he is too young to understand the mechanisms behind her addiction and to see what it does not only to her but also to him. It would be too easy to blame Agnes for the misery she brings to herself and her son, she too is a victim of the time she lives in and the society that surrounds her. Industrial times are over in Scotland and the formerly working class turn into a new underclass.
It is not the plot that stands out in this novel, actually, all that happens is a downward spiral of alcoholism and decay that leads to the necessary end one would expect. Much more interesting are the two main characters, mother and son, and their development throughout the novel. Agnes tries to preserve her pride, to be the glamorous and beautiful woman she has once been and who has always attracted men even when times get tough. She keeps her chin up as long as she can – at least when she happens to be sober.
Already at a young age Shuggie has to learn that life will not offer him much. His family’s poverty and his mother’s addiction would be enough challenge in life. However, the older he gets, the more unsure he becomes about who he actually is. As a young boy, he prefers playing with girls’ toys and later he does not really develop an interest in girls either which makes him an easy target of bullying. No matter how deep his mother sinks, he always hopes for better days, days with his father, days without hunger. He is good at observing and even better at doing what is expected of him. He learns quickly how to behave around the different men in their home, how to hide his life from the outside world. In Leanne, he finally finds somebody who can understand him because she herself leads exactly the same life. They only long to be normal, yet, a normal life is not something that their childhood has been destined to.
Quite often you forget how young Shuggie is, his life is miserable but he has perfectly adapted to the circumstances. Douglas Stuart provides insight in a highly dysfunctional family where you can nevertheless find love and affection. It is clear that there is no escape from this life which makes it totally depressing. Somehow, the novel reminds me of the “Kitchen Sink” dramas with the only difference of being set in the 1980s and shown from a female perspective. Agnes is not the angry young woman; she is the desperate middle-aged mother whose dreams are over and who provides only one example to her son: do not expect anything from life or anybody.
An emotionally challenging novel due to its unforgiving realism.
You should never underestimate a woman’s revenge. When her nanny and friend vanishes, Beth decides that – since it all will finally come out anyhow – she can also make the first step herself: she tells her husband Evan that she’s going to leave him for her affair Nick. Evan seems to accept this calmly, they have lived next to each other but hardly with each other for years now, calling this a marriage was embellishing the situation. But he warns his wife that she will be sorry for this step. At that moment, Beth doesn’t have a clue what he means, how powerful her husband actually is and first of all, WHO she has been married to all these years. With her decision to leave him, she has triggered a ball that will send her directly into hell. But Beth is a fighter, much more a fighter than Evan could ever imagine.
Anna-Lou Weatherley’s novel really deserves the title “page-turner”. From the first chapter when the nanny goes missing to the very end: it is a rollercoaster ride of emotional ups and downs that fascinatingly and almost addictively keeps you reading on. The author has created enemies who fight on a very high level – a wonderful read that I enjoyed throughout.
“The Stranger’s Wife” is a psychological thriller combined with some serious issues that make you ponder quite some time after having finished reading it. I totally adored the idea of a woman fighting back, not accepting fate and a bullying husband who knows all the important people and thinks that life runs according to his personal laws. Having his evil character slowly unfold was exciting and frightening at the same time since you always wonder how well you actually know the people around you and how much and what they might hide. Yet, the story also showed that marital abuse and physical as well as psychological violence happens in all social classes, the rich can be affected in the same way as the poor, money does not make a difference when it comes to aggressions.
A marvellous plot with interesting and multifaceted characters, thus I can easily pardon the fact that it needed a kind of coincidence to make everything fall into place. The novel literally absorbed me and I hardly could put it down.
Olivia is a typical 15-year-old girl who is fighting with her parents about going to parties, who is unsure of how to dress and how to behave in school and daydreaming about finally getting away from her family. Except she isn’t. Her life has two sides: on the outside, there is the loving mother in the caring home, on the inside, Olivia and her smaller sister Rosie grow up much more than overprotected. Their parents keep them away from the life outside their small home. They are allowed to school, but not much more. Never can they visit or invite friends, never can they really bond with anybody outside their family. When one evening Olivia sneaks out to go to a party, she sets in motion a series of events that will reveal much more about the family than just explain this very uncommon behaviour of the parents.
The story is told alternately from Olivia’s and her mother Hannah’s perspective. Quite cleverly, Victoria Jenkins first makes you believe in a fairly ordinary phase of rebellion of a teenager. Olivia behaves just like any other girl her age and seems to overdramatise her family life. Yet, slowly and almost unnoticed, something else creeps in and step by step, the image and idea you formed about the family shifts until you have to throw all your assumptions over board.
“The Argument” is a cleverly constructed psychological thriller which captivates the reader with the unexpected development of the characters. Both mother and daughter are actually equal protagonists, the age difference and uneven roles do not really make a difference. You focus on their subtle fight, the bits and pieces of their lives that lie beneath the surface and one after the other come out make them turn into realistic and multifaceted characters. While being occupied with the two women, you overlook the real danger and in the end, it is not easy to come to a final verdict on wrong-doings.
A spell-binding novel which does not offer the immediate thrill but which captivates you at a certain point and in the end, does not leave you without a melancholy feeling.
After her beloved father has died, Seraphine Mayes digs into her family’s history. When she finds a photograph of her mother, her older brother Edwin and one baby, she is astonished: it must have been taken on the day of her birth, but which one is the baby? Seraphine or her twin brother Danny? And why does the mother look so happy, only hours before she committed suicide? The photo must have been taken by the au pair who was then looking for Edwin, a certain Laura. When the young woman starts her search for the former babysitter, memories of rumours surrounding her family home Summerbourne also come back to her mind: why did everybody in the small village always say that twins do not survive in that house? When Seraphine tracks down Laura and tries to contact her, she inadvertently sets in motion a series of events.
Emma Rous’ mystery starts as a simply family story and then develops into a suspenseful crime novel. The story is told alternatingly between Seraphine’s search for Laura and the latter’s experiences as an au pair 25 years before. Two young women full of distress who cannot foresee what they run into. The plot is carefully crafted and to sort out the complex connections takes some time thanks to unexpected twists and turns.
“The Au Pair” clearly lives on the two protagonists. I liked both of them dearly, Seraphine’s stubbornness is quite convincing, she does not give up even when being threatened, actually this only spurs her curiosity and fervour to uncover the events surrounding her birth. On the other hand, Laura had to flee from her evil stepfather and tries to regain control over her life. Both women are created multifacetedly, especially their relationships are complicated which makes them authentic and believable. Apart from the characters, I especially liked the atmosphere of the novel and the spooky tales that circle around the two family homes which give you the impression of old gothic homes which have some secrets buried that are never meant to come to the light.