And Now You Can Go

And Now You Can Go

3.5 2
by Vendela Vida

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Vendela Vida’s fearless, critically acclaimed fiction debut follows the unpredictable recovery of a young woman as she tries to make sense of her life after an encounter at gunpoint.

Accosted one afternoon in Riverside Park by a man who doesn't want to die alone, Ellis, a young grad student, talks her way out of the situation by reciting poetry to her


Vendela Vida’s fearless, critically acclaimed fiction debut follows the unpredictable recovery of a young woman as she tries to make sense of her life after an encounter at gunpoint.

Accosted one afternoon in Riverside Park by a man who doesn't want to die alone, Ellis, a young grad student, talks her way out of the situation by reciting poetry to her desperate captor. He lets her go, but is she free? Rejecting the overtures of her kind-hearted boyfriend, the police, and the suitors who would like to save her, Ellis finds herself unable to escape the event. She leaves the city to visit her family; joins her mother on a medical mission to the Philippines. When she returns, Ellis discovers something more about life–perhaps even how to take back her own.

From the Trade Paperback edition.

Editorial Reviews

The New Yorker
An armed man waylays a twenty-one-year-old woman, Ellis, in Riverside Park, seeking a partner in suicide, but she survives. Thus begins Vida’s début novel, which, despite its hard-hitting setup, turns out to be an oddly anemic picaresque. Ellis alternately fends off and submits to the consolations of various men; thinks about the child an infertile couple conceived with her eggs; broods over her father’s four-year disappearance and unexplained return; jets off to the Philippines on a volunteer mission; then, back in Manhattan, cuts her hair into a mullet. There’s plenty of mordant humor along the way, and oddball characters who leave Post-It notes in verse or profess devotion by pushing tacks into their faces, but, even as a study in dislocation, Ellis’s trajectory seems somewhat arbitrary.
The New York Times
First novels, especially those by young writers, often tend to be about people who just can't get outside themselves: sometimes it takes pages and pages for a character to move from one fascinating fold of his navel to the next. But Vendela Vida's blessedly economical first novel, And Now You Can Go, is something else, even if it is about a young woman who just can't get outside herself -- perhaps because it's written by a woman who's cleareyed enough to see around and beyond her own heroine. — Stephanie Zacharek
The Washington Post
To call Ellis a meticulous observer is, of course, just another way of praising Vida's skill … her writing is exceptionally detailed and vivid. — Ruth Franklin
Publishers Weekly
Ellis, the 21-year-old narrator of Vida's lean, absorbing first novel, is forced at gunpoint to sit and talk with a man in a New York City park as he contemplates a murder/suicide. Like Scheherazade, she reels off half-remembered poems to try to distract the man and keep herself alive. Though nothing more happens on that park bench, she carries on as if treading water in an emotional whirlpool, waiting to get sucked under. A grad student at Columbia, Ellis goes through the various routines expected of the victim of violent crime: reporting the event to the campus police, seeking succor from friends, going to a therapist. But the problem of how to define herself-as a victim or not-lingers and begins to seep into other parts of her life. She ricochets among a handful of men: Tom, her well-meaning but needy boyfriend; the nameless "representative of the world," an enigmatic grad student; a rich, suicidal ex; and her only potential savior, a colorful, if chauvinistic, ROTC recruit full of chivalric gestures and inappropriate comments. Frustrated, Ellis returns to her home in San Francisco and then accompanies her mother on a charitable trip to the Philippines, where, in a series of surreal vignettes, she assists doctors giving eye surgery to the poor. While a more conventional novel would use this trip as a denouement-a kind of reconciliation with her own privilege-here it merely underscores the narrator's dreamlike detachment. Despite the high drama of the start, this is an unsentimental tale, in which the classic brush with death elicits a sense of awe as well as anger, and conventional notions of therapy and reconciliation are overturned. The end, unfortunately, arrives just as the book began-abruptly-and the reader longs for something more. Nevertheless, this remains an intriguing and auspicious debut. Agent, Mary Evans. (Aug.) Forecast: Vida, the author of the nonfiction work Girls on the Verge, is also a co-editor of the magazine the Believer (and was married earlier this year to Dave Eggers). Like her Believer co-editor Heidi Julavits, whose own first novel (Forecasts, June 23) was published earlier this summer, she will attract considerable mainstream and alternative media attention. Eleven-city author tour. Copyright 2003 Reed Business Information.
The story begins with a young woman accosted in Riverside Park by a man with a gun. She is able to distract him by reciting poetry and manages to escape, supposedly unscathed. The real story is how she reacts to this episode and how much it disrupts her life. Although the attack was random and had few physical ramifications, its effect sends ripples throughout her life, her family, and her relationships. Vida writes with humor and insight into how easily one's life can change and how tenuous our grasp is on what is real and what is important. KLIATT Codes: SA—Recommended for senior high school students, advanced students, and adults. 2003, Random House, Anchor, 190p., Ages 15 to adult.
—Nola Theiss
Library Journal
Within three months of moving to New York City for graduate school, 21-year-old Ellis is accosted at gunpoint. Rather than succumb to her assailant's wishes, Ellis tries to talk him out of hurting her. Without thinking, she reels off a litany of calming poems by Phillip Larkin, Ezra Pound, William Carlos Williams, and William Butler Yeats, among others. Suddenly, her would-be attacker flees, and Ellis is alone. Almost immediately, both friends and strangers begin congratulating her for her pluck. But was it pluck that propelled her? As Ellis replays the incident, she feels an unfamiliar array of emotions, anxiety and panic among them, and seeks comfort in sexual encounters with random men. While these trysts offer short-term relief, they are ultimately unsatisfying; it is only by taking a trip to her parents' California home that she is able to put the event in perspective and regain her footing. Richly drawn, unpredictable, and wryly funny, Vida's debut is dazzling. Manhattan-both people and place-are rendered with rare authenticity. Highly recommended for all libraries.-Eleanor J. Bader, Brooklyn, NY Copyright 2003 Reed Business Information.
Kirkus Reviews
Being held up at gunpoint either sends a college student into the throes of despair or gives her a new reason to live: maybe a healthy dash of both. It's a good thing Vida (Girls on the Verge, 1999) makes her fiction debut with this novel instead of a story collection: she takes getting used to, but it's worthwhile. Ellis is a 21-year-old Columbia University student walking in Riverside Park when a man tells her that he's going to kill her, then himself. Trying to convince him of everything worth living for, Ellis spouts poetry, throwing everything at him from "Leda and the Swan" to William Carlos Williams and Philip Larkin, melting his despair until he lets her go. Later, when the police come to her apartment and her roommate answers the door, Ellis thinks: "I wonder if this is how it will be from now on: whenever there are policemen at the door we'll assume they're for me." The remainder of the tale is a short string of nonevents (even the trip Ellis takes to the Philippines hardly registers), the dull detritus of a benumbed student's life. It's a frustrating, brilliant story about an irritating person with genuine trauma acting hatefully to all those around her. There's too much smartass to the book: in a scene when an old high school friend is telling Ellis about a teacher who taught Sylvia Plath, Vida can't resist throwing in that the teacher "put her head in the oven." But then two pages later, when Ellis is obnoxiously lying and claiming to have been raped, she thinks: "I feel oddly liberated and I realize why: if I had been raped, I'd feel more justified doing everything I'm doing." It's a genius line, ringing true-but sure to be undermined by another poor joke later on (we won'tget into the scene where Ellis goes to the barber and gets a mullet-too much Gen-X irony in that one). Hilarious and touching, icily removed, yet bracingly real. First printing of 40,000. Agent: Mary Evans
From the Publisher
"And Now You Can Go is a swift, fleet novel, a spare but polished miniature. . . . Vida writes with a sense of urgency, and with leapfrogging good humor." –The New York Times Book Review

"And Now You Can Go is so fast, so mesmerizing to read, and so accomplished that it's hard to think of it as a first novel, which it is–Vendela Vida has promise to spare." –Joan Didion

"Clever and dry and funny. . . . Vida has written a thriller: a thriller about how we love and how we forgive and when and how we have to choose to do so." –The New York Review of Books

“Astonishingly accomplished. . . . Vida creates the stunning impression that relationships are always provisional, even if the most random human interaction has the power to alter–or save–your life.” –Los Angeles Times

“It's a challenge to not fall in love with Vida's characters. . . . Equally humorous and heartbreaking . . . Vida has written an enormously giving and heartfelt exploration." –The Austin Chronicle

"Bewitching. . . . Vida demonstrates tremendous patience, sensitivity and droll humor as she charts the path traveled by her memorably odd hero." –Chicago Tribune

"Ellis charms us with her hyperventilated good intentions, foibles and screwups, her whole essence on the page so real and earnest and gullible, so neurotic, so capable we feel as if we have known her our whole lives." –The Miami Herald

“Vida’s gift lies in her assured grasp of the characters, as wacky as they may be, and in her ability to maintain a sense of humor.” –Milwaukee Journal Sentinel

“A fearless, provocative and surprisingly funny story of implied violence and one woman’s skeptical pursuit of sanctuary. This observant, fast-paced and engrossing work heralds a writer of great talent.” –The San Diego Union-Tribune

"And Now You Can Go is utterly gripping, a book to be read in one sitting." –The Times Literary Supplement (London)

"Vendela Vida's first novel defies expectations in virtually every way; what looks to be a tale of psychological trauma, or even revenge, evolves into something much rarer in contemporary fiction: a joyful investigation of the pleasures of living. And Now You Can Go is beguiling, celebratory, and mysterious." –Jennifer Egan

"Subtle and psychologically acute . . . the stark, wry minimalism of Ellis' voice works in mesmerizing counterpoint to the lunatic situation that engulfs her." –Newsday

"Compulsively readable." –Vogue

“A captivating character study with surprising pockets of wit. . . . Vida has a brilliant eye for the idiosyncrasies and peculiar details that endear her characters to the reader.” –The Plain Dealer

“Wonderful. . . . In addition to its stirring plot and narrator, Vida’s novel offers solid gimmickless prose that shifts deftly according to scene.” –Minneapolis Star Tribune

"And Now You Can Go's narrator is a cool, quirky customer, but she's ever ready to do something generous, something noble, something stamped with grace." –David Schickler

“A quick, intriguing and often funny examination of trauma, human relationships and modern life.” –San Jose Mercury News

“An affecting examination of letting go.” –People

"To call Ellis a meticulous observer is, of course, just another way of praising Vida's skill. . . . Her writing is exceptionally detailed and vivid." –The Washington Post

"It is Ellis's fierce refusal to play the victim that drives this riveting book." –O, The Oprah Magazine

"An existential Perils of Pauline: A young woman is robbed–at gunpoint!–of her ability to feel. Whether or not she can learn anew how to love is the question at the heart of this wonderful new novel. Comedic yet serious, minimalist yet lush–this is an exciting debut." –Jonathan Ames

“Addictive. . . . Vida creates a complex but sympathetic heroine on a voyage and entices you to follow.” –The Boston Phoenix

"Vendela Vida has a talent for getting into the minds of her subjects. . . . Vida knows what people will do and what they won't do and what they find themselves doing anyway pretty damn well." –W magazine

"And Now You Can Go is consistently a pleasure to read." –The Independent (London)

"I was captivated from the first page, compelled to keep reading until I finished in the wee hours of the morning. Vendela Vida's novel is a gift to the reader, a story that contains what I love best about fiction: an idiosyncratic voice, keenly observed gestures, intelligence and heart, and both large and small moments that reverberate in unpredictable ways. And Now You Can Go doesn't let go. It is the debut of a writer with enormous talents." –Amy Tan

“Honest, quirky, and surprisingly compelling.” –Entertainment Weekly

"And Now You Can Go is a book for people who read for pleasure, a book whose beauty lies in its simplicity and sentences that push just enough." –San Francisco Guardian

Product Details

Knopf Doubleday Publishing Group
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Read an Excerpt

What Happens When These Things Happen

It was 2:15 in the afternoon of December 2 when a man holding a gun approached me in Riverside Park. I know this because, five minutes before, a mother pushing a sleeping girl in a blue stroller had asked me for the time.

I was twenty-one and had moved to New York that September, knowing no one, and my days were the meekly sunlit rooms of a vacant house. I spent my afternoons in Riverside Park, across the street from my apartment. The trees were tall, and, by December, without birds. In my mind, the story is always in the present, always starting at 2:15. I'm walking along the park's promenade when a man behind me says, "Ma'am?"

I turn around, guessing he needs directions, or that I've dropped a glove. Who would call a young woman ma'am? The man is wearing a black leather jacket, unzipped, and glasses with thin frames. His right hand is tucked into his jacket and he appears to be holding the left side of his waist, like Napoleon. He's large--more wide than tall--and his thick legs step closer. I'm on the promenade and I can hear kids playing with their nannies, with their dogs, and the sound of their laughter is the distance between me and them. I take a step backward, then turn and keep walking in the direction I was before, but faster.

"Ma'am," the voice behind me says. "I have a gun. If you keep walking I'll shoot you. Just do as I say."

I turn back around to face him. I think, I hope, he's joking, until he opens his jacket and shows me the gun in his right hand. I've seen guns before--I've held them in my hands, at a shooting range in Florida, with an old boyfriend before we got orange and lime ice cream. I've felt their weight, been thrown back after firing a .55. But I have never seen a gun pointed at me.

"Do you want money?" I say, and empty out the pockets of my blue coat. The lining is plaid; I don't know if I've noticed this before. I rummage up eighty cents in a shaky hand and offer it to him. "It's all I have," I say. I want to believe money is what he wants.

He looks at my hand as if it has a hole in it. "I don't want your money," he says. "And stop walking away or I'll shoot." I didn't know I was walking away. Now I'm saying "No, no, no," in something like a chant, and I realize I'm not saying no to him, but to the plot I sense developing. I know what happens when these things happen.

There's a wall on the right side of the promenade, parallel to the river, and I imagine that behind this wall is where he'll take me with the gun he'll hold to my head as he rapes me.

"Let's just go over here," he says, and juts his chin toward the wall. I think about making a break for it, about running so fast I can't even look down for fear of stumbling. But I imagine myself being shot in the back. Paralyzed. No, I decide, rape is better.

The man with the gun and I are walking next to each other, along the promenade. We're a couple going for a stroll in the park.

"Let's sit on this bench here," he says. There are two benches: one faces the river and New Jersey, the other faces the park. I'm relieved when he picks the bench that faces the park and the promenade, where there are usually people, where I pray there will soon be people.

"I want to die," he says.

His eyelashes are long. Maybe he doesn't want to kill me. He only wants to die. I've been holding my breath, and I try to exhale without him noticing.

"I want to die," he repeats.

I heard you, I want to shout, but don't. He's staring at the trees in front of us.

"There's nothing," he says.

I wonder what brought him here. Has he been fired? From what job? Something professional--the glasses. Or someone left him. There must be a reason he chose me. A woman left him and I look like her. Maybe there's no reason. I picture a woman who looks nothing like me. I try to place him at a Chinese restaurant or at the head of a table, blowing out birthday candles. But I can't imagine him doing anything but sitting next to me in this park, holding a gun.

"I don't want to die alone," he says.

My hands, still inside my gloves, are soaked with sweat.

"I want to die with someone."

I can smell the leather of his jacket and I see he's wearing glasses that say "Giorgio Armani" in tiny, precise letters on the side. I am going to be killed by a man wearing Giorgio Armani glasses. He takes the gun out of his jacket and puts it to my head.

The pressure against my skull, just above my ear, makes me think I've been shot and there is a bullet going through my thoughts. I picture the only time I saw my mother cry.

I was fifteen and my father was gone. We didn't know where he was. He was still our father, and my parents were not divorced, but now he lived in Minnesota. His explanations were business-related, and he spent some weekends at home. This time he hadn't been in touch in months.

When he finally called one day, the ringing of the phone sounded different--sirenlike, screaming. My mother answered. I knew who it was when she said "Hello" and then stared at the phone, crying. I had never seen her cry before, and it was an ugly sight: the flat planes of her face went limp, shifted like sand. I ran to her, near the kitchen sink, put my hand over hers, and guided the phone back into the cradle.

The man with the gun is waiting for me to say something. But what? I imagine the barrel is an outgrowth of my head: the stem of a thought bubble in a cartoon.

"Maybe you're just having a bad day," I say to him, with a tilted head and hope.

He doesn't say anything. It's quiet for too long.

I smell garlic. It's coming from the gun. Does this mean the gun's recently been fired? Or that it hasn't been used in years? Somehow, this distinction seems important. I look down at the man's Doc Martens, the laces tied in double bows. A few feet over, a used condom has been discarded. I look back at the double bows and then re-tilt my head so it's up against the gun--I don't want him to think I'm trying to get out of this.

Then the gun is down. The man has put the gun in his lap so he can talk. "I feel calm next to you," he says. "You make me feel calm." He's looking at the gun in his hands.

"Calm is good," I say.

"Yeah," he says. "It's good. I feel calm enough to finally die. For us to die together."

I can see people to my right, approaching. A woman and two children. I want them to be three men.

The man is still talking. I watch his chapped lips move and I think, I am still alive. I look toward the woman and children and see they've turned back the other way. Across from me--maybe seventy-five feet in front of me--is a parks service man who is cutting down trees or using a leaf blower. I can't see what he's doing, but he's making so much noise that even if I screamed he wouldn't hear me. And if I did scream, wouldn't the man with the gun shoot?

It hits me: Bookstore. Durer. I'll get the man with the gun to a populated place, where there are people and phones and police. I'll get him to go back to the bookstore with me. I was there three hours before. I was going to buy a book on Durer. Woodcuts! I'll get him excited about woodcuts, or maybe frescoes, and then we'll go to the bookstore, to the oversized-book section, and he won't suspect even for a moment what my agenda is. Or maybe he will suspect, but by then it will be too late. I can suddenly smell the trees we're sitting under.

"You know what?" I say. "There's so much good stuff out there. There's painting!" I feel like a cheerleader gone haywire.

He looks at me blankly.

"There's poetry!" I say, reaching for something, anything.

"Poetry?" he repeats, turning his head toward me, and I feel the tug--he's clamped down on the bait. The relief is intoxicating. I recite Ezra Pound's "In a Station of the Metro" to the man with the gun, speaking slowly and arrhythmically, the way people do at spelling bees. "The apparition of these faces in the crowd;/Petals on a wet, black bough."

My mother made my sister, Freddie, and me memorize a poem a week. She was appalled our schools didn't.

I find myself rambling to him about Yeats's "Leda and the Swan." "Zeus takes the form of the swan so he can seduce Leda," I say. I decide this is wrong--I don't want to give him any ideas. If he does rape me, I think, I'll pretend it's someone else. I'll visualize Tom, my boyfriend of three months. Tom knows everything about presidents. Sometimes he quizzes me: "Who was the only president from New Hampshire?" "Who was number twenty-three?" I try to picture him and wince. I know that whatever happens here, that part of my life, the part with Tom, is now over.

I switch to Frost and talk about that line about two roads diverging in the woods. "That line is quoted in so many high-school yearbooks." Surely he went to high school and had a yearbook, right? "Well, sometimes I wonder if Frost is being ironic, that it doesn't matter what road you ..."

I stop with that thought.

William Carlos Williams is good, I think. More positive. There's his poem my mom loved--the one about the plums--and it comes out of my mouth to the tune of a song by Liz Phair. The man is looking at me through his Armani glasses as though I might be a heroine, a scholar, a prophet. I can't stop the poetry. And then I'm reciting Philip Larkin:

"The difficult part of love Is being selfish enough, Is having the blind persistence To upset an existence Just for your own sake. What cheek it must take."

The man is looking at me like I'm worse off than he is. I'm standing now, hesitantly, no drastic moves, reciting the next stanza:

"And then the unselfish side ..."

I pause. Fuck. "I'm sorry," I say. "I can't remember the rest."

The man with the gun nods. What does that mean, his nodding? That I should be sorry, that things will now be worse? Or that he understands?

"There are things to live for," I plead. "Philip Larkin," I say.

"What's a Philips Larkins?" he says. This strikes me as funny, but I see something in his eyes--some confused interest.

"Let's go up to the bookstore and I'll show you," I say. "We can find the last two stanzas, the part I forgot." I hold my breath.

"Okay," he says.

He says okay.

I get him to start walking to the bookstore with me, all the while imagining how once we're there I'll tell someone--the tall man behind the cash register with a pus-filled infection from his lip pierce, the guy who tells me "Good choice" whenever I buy a book, any book--to call the police and this man will be arrested while reading Philip Larkin. But as we're walking he's still holding his gun and for a moment it's pointed right at me. It's a very long moment.

"Wait," he says.

I stop and hold my hands up as though I'm pledging allegiance with both of them.

"I should put this away." He unzips his black backpack and puts the gun inside like a schoolboy putting away his lunch.

He asks where we're going.

"Up to Broadway," I tell him.

His face is blank.

"Up to Broadway," I say again.

He doesn't even know what part of town he's in. Why did he come here? We're walking up the path and we're almost at the street, almost at Riverside Drive, and I'm trying to get him near the park worker with the leaf blower.

"Look, you can run now. You can go and do whatever you want," the man with the gun says. "I'm sorry. I'm so, so sorry."

But I don't run, because I'm afraid he'll shoot me in the back. Then the man with the gun takes off the opposite way, running toward the smaller-numbered streets, increasing his pace but looking back at me every few strides. When he's far enough away that he can't shoot me, I run hunched over to the park worker. Middle-aged, Hispanic, short. He turns off his loud machine when he sees I'm trying to talk to him.

"I think a man just tried to kill me," I tell him. I say it twice, because the first time I hear myself say it, it doesn't quite seem plausible.

The park worker slides open the side door of his van and I sit on the floor and cover my head. I fear the trees will fall onto the car; I fear the car will fall into the trees.

The driver's door opens and I glance up to make sure it's the park worker. He looks around before getting into the car and I realize he's scared too. He gets on the CB. I'm sitting on the floor asking if he'll just take me back to my apartment. I hear him saying, "Situation bad, situation real bad." He takes me home.

As soon as I get into my apartment I start pacing back and forth in the hall. My roommate, Susan, is trying to understand what's going on. Susan and I aren't friends--when I moved here in September for grad school I started renting a room from her for $550 a month. She hasn't talked to me since the night when, drunk, she told me she'd had anal sex with her cousin on Thanksgiving. She's Catholic and still considers herself a virgin. But now we forget all this. She hugs me, and I smell something familiar: she's helped herself to my perfume. There's a knock at the door and I hide in the kitchen because I think it's him. The man with the gun has followed me home.

From the Hardcover edition.

What People are saying about this

David Schickler
And Now You Can Go's narrator is a cool customer, drifting through a world of violence and charity and screwed-up suitors. But she's ever ready to do something generous, something noble, something stamped with grace.
Amy Tan
Vendela Vida's novel is a gift to ther reader, a story that contains what I love best about fiction: an idiosyncratic voice, keenly observed gestures, intelligence and heart, and both large and small moments that reverberate in unpredictable ways.

Meet the Author

Vendela Vida's first book, Girls on the Verge–a journalistic study of female initiation rituals–grew out of her MFA thesis at Columbia University. She is co-editor of The Believer magazine, and lives in Northern California with her husband. And Now You Can Go is her first novel.

From the Trade Paperback edition.

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3.5 out of 5 based on 0 ratings. 2 reviews.
Anonymous More than 1 year ago
Guest More than 1 year ago
About the book: This book contains much feelings and thoughts. It took some time before I started liking the book. The ten last pages where even really, really exiting and i couldn¿t stop reading for a second. ¨ Very easy red book with easy american-english. ¨ Written in first person view. ¨ Even if the book is a little hard to like in the beginning it is a pleasure from the first page. ¨ The book contains 190 pages. ¨ It is the first novel by Vendela Vida. ¨ The first book of three. ¨ Other books: Girls on the Verge. A gun is pointed at twenty-one-year old Ellis as she walks through a New York park in December the second. She has only lived in New York for 3 weeks. Although she manages to get away unharmed and without any injures she is left with psychologically reeling. Everyone she speaks to is worried about her ¿ and she leaves everyone with a big question mark. How is she feeling? Then Christmas comes and she travels back to San Francisco ¿ where her mum and dad lives. Before she goes to San Francisco she brakes up with her boyfriend. It is also where I started liking the book ¿ it¿s about page 70. After Christmas her mum is going to the Philippines for a salvation mission and Ellis accompanies her. Under this time Ellis finds that it¿s a life even after the park and the man. When she comes back to New York and her life she is starting to study again ¿ she wants to be a painter. Then she sees him ¿ the man in the park. He works at a hotel helping people to carry theirs bags. What shall she do now? She calls the police: ¿What can I do for you?¿ The police woman says. ¿I have a question, I say, had anything like what happened to me happened before,¿ ,¿to someone else?¿ ¿No,¿ The police woman says, ¿Your guy didn¿t do that to someone else. You where the first, or maybe the only one.¿ ¿But when I looked through pictures-¿ ¿Those where the mug shots we have of people who have committed all sorts of crimes. Drug dealing, auto theft, larceny.¿ ¿Thanks¿, I say. ¿No problem,¿ she says. You know where to find me if something comes up.¿ ¿Yup,¿ I say, and pause. ¿Anything else I can help you with?¿ ¿No,¿ I say, ¿Bye.¿ Then she meets a guy called G.P And she starts liking him and she tells it to him - that she know where to find the man in the park. The next morning the G.P and his friend stands in the hall with the man in the park. G.P has a gun in his hand. ¿Is it him?¿ G.P asks. ¿ If it is him he is a dead man!¿ ¿Well¿¿ I say. The man whispers: ¿ I¿m sorry¿ If G.P hears that he will kill the man. ¿No,¿ I lie, ¿ It is not him.¿ ¿Sure?¿ G.P says. ¿Yes.¿ Then they send the man away. This is the first book of three so after that you don¿t know what happens. The book ends while Ellis travels to her friend in Dublin. I will definitely read the second and the third book too!