Author Paula Hawkins won her second GoodReads Choice Award in 2017 (2018 Reading Challenge) with her second novel, Into The Water.
Hawkins won readers over with her debut, The Girl on the Train, a twisting confounding mystery told by three women, one who was prone to alcohol induced blackouts.
She’s traded an unreliable narrator for a whopping ten narrators, all with secrets to hide, sometimes holding onto the secrets of others. All are tied in some way to two people, Katie, a popular fifteen-year-old student and Nel, an eccentric and distrusted forty-year-old writer. Both have met their ends in the Drowning Pool, a body of water with a morbid history. Those in mourning are left wondering why and possibly who.
One death, a definite suicide, leaves the question of why. And though she chose to end her life, is it possible there were other forces at work?
The second death, that’s the mystery. While suicide is possible, murder isn’t out of the question since there are a number of characters with plausible motives: the secret lover, the jilted wife, the heartbroken mother, the traumatized daughter etc. By the last fifty pages, you have it narrowed down to three. By the last ten, you’re sure you know. By the last paragraph, you realize you’re wrong. Or rather, you were right when you suspected it earlier, but then changed your mind.
Much grumbling has been done about the number of viewpoints. I understand confusion early in the book since Hawkins disseminates useful information sparsely and slowly. Not only that, some characters give first person accounts, while other characters are written about in the third person. Moving forward, each first-person character has a distinct voice and all characters have a unique connection to the victims. Some characters disappear for quite a while, then reappear with no re-introduction which could be confounding, but again, the relationship to the victims serves as a reorientation of sorts.
For further help, each short chapter starts with the name of the character narrating. Not only that, the name appears in the header of the odd numbers pages, so on the rare occasion a chapter goes more than three pages you can see who’s interpretation of events you’re reading by looking at the top of the page.
Overall, the mystery twists and turns the way a good mystery should, though it loses some of its realism about three-quarters of the way through. American readers unfamiliar with the inner workings of England’s criminal justice system (like me) can shrug and say that’s just how they do things over there, I guess. For all I know, maybe they do.