A single mother turns up dead at the bottom of the river that runs through town. Earlier in the summer, a vulnerable teenage girl met the same fate. They are not the first women lost to these dark waters, but their deaths disturb the river and its history, dredging up secrets long submerged.
Left behind is a lonely fifteen-year-old girl. Parentless and friendless, she now finds herself in the care of her mother’s sister, a fearful stranger who has been dragged back to the place she deliberately ran from—a place to which she vowed she’d never return.
With the same propulsive writing and acute understanding of human instincts that captivated millions of readers around the world in her explosive debut thriller, The Girl on the Train, Paula Hawkins delivers an urgent, twisting, deeply satisfying read that hinges on the deceptiveness of emotion and memory, as well as the devastating ways that the past can reach a long arm into the present.
Beware a calm surface—you never know what lies beneath.
Paula Hawkins’ second book, relies a lot on the history of the small town forming the story’s setting for the haunting feeling that permeates throughout the book. This, along with almost a dozen narrators, is what provides the book with much of the smokescreen for what ultimately is a fairly simplistic resolution to the murder mystery.
Getting into the story does take some time, especially with so many narrators. It did throw me off a bit because I am not used to reading multi-PoVs that are more than 3 or 4. But with each narrator came a small but significant chunk of jigsaw pieces to the main puzzle at the heart of the plot and I am just glad that I actually caught onto and remembered all the minute details. Into the Water had what, in my opinion, makes the best kind of whodunits – where you guess the answers to some of the “smaller” questions based on what the author feeds you but are still stumped by the final revelation.
I loved the The Girl on the Train and I guess it is natural to have high expectations from the authors’ second books after their fab debuts. Into the Water is no TGotT – I felt the latter was definitely more character-driven with an alcoholic as the primary unreliable narrator. However, with Into the Water, I just felt that the large number of narrators somehow ended up inhibiting the author from actually devoting time to SHOWING how the people in the community felt about or got along with each other before and after the two successive deaths in their town. One of the main characters, Jules, who is actually the first narrator and who being one of the dead women’s sister, is at the heart of plot, didn’t make any impression on me at all. This was despite all the flashbacks we get about Jules and her sister in their teens. I actually found the backstory through the flashbacks more powerful and somehow connected with the younger Jules more than the present-day one – despite her transformation from someone who was ambivalent about her sister’s story or her niece’s emotional well-being to someone who finally starts making an effort. I connected more with her niece Lena’s frustration at her aunt and everyone around her who were trying to “meddle” into her mom’s and best friend’s deaths instead of believing her convictions that they were suicides.
The book has a dark, unhappy cloud shrouding it the whole time, but you don’t have any time to dwell on any particular mood because of all the frequent narrator changes. Though that is a good thing in terms of keeping the pace of the novel from dropping, the flipside of it was that some of the emotional moments didn’t make much of an impact on me. There were deaths, families grieving, a funeral, estranged families and a doomed love story but none of them moved me all that much. However, if you loved Hawkins’ writing in her first book, and if you are up for a good murder mystery; I wouldn’t hesitate recommending this. If I have to compare between the two, this one was definitely cleverer.