Little Face

( 22 )


A creepy, fast-paced psychological thriller from the author of The Wrong Mother and The Other Woman’s House

It’s every mother’s worst nightmare. When Alice Fancourt leaves her newborn daughter at home with her husband for the first time, she comes home to a horrifying discovery: her child has been swapped with another baby. In near hysterics, Alice rushes to call the police, but soon discovers that no one, not even her husband David, believes her. When the police arrive, ...

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Little Face (Simon Waterhouse & Charlie Zailer Series #1)

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A creepy, fast-paced psychological thriller from the author of The Wrong Mother and The Other Woman’s House

It’s every mother’s worst nightmare. When Alice Fancourt leaves her newborn daughter at home with her husband for the first time, she comes home to a horrifying discovery: her child has been swapped with another baby. In near hysterics, Alice rushes to call the police, but soon discovers that no one, not even her husband David, believes her. When the police arrive, Detective Simon Waterhouse is drawn to the lovely Alice but doubts her story and suspects that she is suffering from postpartum depression. Meanwhile, David is growing increasingly hostile and Alice begins to fear that her baby’s disappearance may be linked to his first wife’s untimely death. Can Alice convince the police before it’s too late?

The first book in Sophie Hannah’s acclaimed Zailer and Waterhouse series established her as a new master of psychological suspense. For fans of Tana French and Tess Gerritsen, Little Face is a chilling look at the lengths to which a mother will go to protect her child.

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Editorial Reviews

Art Taylor
Mysteries abound—Who is Little Face? What's happened to her and Alice? Was the wrong man convicted for the first wife's murder?—but if the answers prove clunky, the author delves more successfully into moral quandaries: What does motherhood mean? What should a mother do when she thinks her child is in danger—especially if her own family doesn't agree? Alice herself says, "Sometimes you have to choose: child or grandchild, husband or daughter, son or daughter-in-law." It's those choices and their consequences that make Little Face compelling.
—The Washington Post
Publishers Weekly

British author Hannah (Hurting Distance) weaves together two narrative voices to create this complex and occasionally forced thriller set in rural England. Excitable new mother Alice Fancourt calls the police, claiming her baby girl has been replaced by a nearly identical infant. Alice believes her husband, David, is responsible, but it soon appears that David's mother, the rich and formidable Vivienne, is up to no good. Det. Simon Waterhouse has a soft spot for the possibly delusional Alice, with whom he alternates narration, but his undeveloped character renders their relationship, or lack thereof, of little interest. More engrossing is Waterhouse's complicated friendship with his boss, Sgt. "Charlie" Zailer, a feisty, appealing woman with a major crush on her subordinate. When Alice and the baby disappear and the police reopen the murder investigation of David's first wife, some interesting discoveries are made, but readers enticed by the intriguing opening will find the payoff ultimately unsatisfying. (Oct.)

Copyright 2007 Reed Business Information
The Boston Globe
The power this novel packs derives from narrators who play fast and loose with what they know. . . . A stunner.
Mystery Scene
Few authors play with reality and perception as skillfully as Hannah does. . . . riveting reading.
The Washington Post
[Sophie Hannah] delves successfully into moral quandaries: what does motherhood mean? What should a mother do when she thinks her child is in danger—especially if her own family doesn't agree? . . . It's Alice's choices and their consequences that make Little Face so compelling.
Library Journal

In this psychological thriller by a British poet and crime novelist, a mother's newborn is supposedly switched with another while mom has her first post-birth outing. Yet the baby has been in her father's care, and neither he nor the baby ever left the house. If you find this perplexing, be forewarned: the book's convoluted story line is not easy to follow. Hannah uses stereotypical gothiclike plot devices, such as the violent murder of the first wife (think Rebecca); the rich, spoiled, adult son and his creepy relationship with his mother; and the dominating mother-in-law who wants control. No one believes poor Alice when she insists that her baby daughter, Florence, has been exchanged for another infant; her hysteria is dismissed as hormonal stress. Only one officer, who has his own issues, is persuaded to investigate further. Unfortunately, there is not one character that you can root for in this novel, so it is hard to care about the outcome of this lackadaisical, confusing thriller. Recommended only where British mysteries and crime fiction are popular.
—Marianne Fitzgerald

School Library Journal

Adult/High School -Alice Fancourt knows the baby in her nursery is not her daughter, Florence, but everyone else is not so sure. Her husband thinks she is crazy; her domineering mother-in-law is reserving judgment but treating her like an infant herself; and the cops, for the most part, do not believe her. This psychological mystery exposes itself slowly. Careful readers are given the clues to Alice's dilemma and the motivations of the characters, but it is easy to engage fully in the drama, be surprised by the occasional twist, and close the book completely satisfied. The suspense is more atmospheric than overt, and the mystery is in the tension of the relationships. Alice is a flawed character who presents herself almost as a child. Simon, the one detective who believes her, has his own torments to which teens can relate. A solid addition to mystery collections.-Mary Ann Harlan, Arcata High School, CA

Copyright 2006 Reed Business Information.
Kirkus Reviews
Is Alice deranged or has her husband swapped her newborn child for another baby?Every character in British novelist Hannah's slightly unhinged psychodrama shows signs of mental disorder, from desperate Alice, convinced a different baby has been substituted for her two-week-old daughter Florence; to her menacing husband David; his bossy control freak of a mother Vivienne; the smitten but introvert cop Simon, who has been put on the case; and Simon's female boss Charlie, who is not yet over Simon's sexual rejection of her at a party a year earlier. There are echoes of Gaslight in David's increasingly sadistic humiliations of fragile Alice, intensifying her sense of isolation and despair; and hints of Rebecca in the scenario of an alienated victim/wife trapped in a vast house-The Elms, Vivienne's sizeable home, where they all live-and out of her depth. When Alice and the baby disappear, Charlie is forced to take Simon's hunches more seriously and the murder of Laura Cryer, David's first wife, is reopened. Slowly the plot winds to a conclusion in which two possibly mad, utterly driven women struggle for the upper hand. Not quite Hitchcock, but a tautly claustrophobic spiral of a story delivered with self-belief.
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Product Details

  • ISBN-13: 9780143114086
  • Publisher: Penguin Publishing Group
  • Publication date: 9/30/2008
  • Series: A Zailer & Waterhouse Mystery Series
  • Edition description: Reprint
  • Pages: 320
  • Sales rank: 302,139
  • Product dimensions: 5.20 (w) x 7.90 (h) x 0.70 (d)

Meet the Author

Sophie Hannah

Sophie Hannah is the bestselling author of eight novels and is also an award-winning poet. Her new Hercule Poirot mystery, the first to be sanctioned by the Agatha Christie estate, will be published in September 2014. She lives in Cambridge, England, with her husband and two children, and is a Fellow Commoner at Lucy Cavendish College.

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Reading Group Guide


“I am thinking that the time will never come, for any of us, when the last question is answered. There will always be loose ends, threads dangling from all our lives.” —Little Face

Two-week-old Florence Fancourt has been kidnapped and replaced with another infant—or so claims her mother, Alice. Her father, David, insists that Alice is mistaken and the baby in their nursery is, indeed, Florence. Despite his protests, Alice calls in the police, who are unsure of what to think about her improbable story. Sergeant Charlotte “Charlie” Zailer thinks that Alice is “a mad bitch” (p. 32) suffering from postpartum depression and that she is wasting valuable police time. However, Detective Simon Waterhouse’s instincts tell him a mother should know her own child—shouldn’t she?

Simon is relatively new to the force, but the prickly loner—more interested in music and books than dating or socializing with his colleagues—has already won notoriety for both his successes and his temper. Not one to simply follow orders, he is determined to find out the truth no matter what. As Simon’s sergeant, Charlie recognizes his talents, but the two have a rocky relationship—complicated by a drunken tryst gone awry—and her objectivity is strained by Simon’s obvious attraction to Alice.

The Fancourts live at The Elms, a lavish estate just outside the small town of Spilling. Vivienne, David’s mother and the small clan’s indomitable matriarch, presides over a household that includes Alice, David, Florence, and Felix, David’s son from a previous marriage. Vivienne’s wealth buys them many privileges, but Simon senses all is not right within the Fancourt family.

Just three years ago, David’s ex-wife, Laura Cryer, was brutally murdered, and Simon wants to re-open the investigation, sensing that Florence’s “disappearance” might be somehow connected to the kidnapping. Normally, David would have been the prime suspect, but an ironclad alibi and overwhelming DNA evidence incriminating a well-known local drug addict and petty criminal made for an open-and-shut case. But Simon discovers that though David had moved on and become romantically involved with Alice before Laura’s death both David and Vivienne were furious with Laura for strictly monitoring the few visits she allowed them with Felix.

Unfortunately, Charlie handled the Cryer murder case, and is bothered by what she perceives as Simon’s dogged determination to vilify David and defend Alice. She convinces their commanding officer, Detective Inspector Proust, to refuse authorization on the DNA test that would confirm or deny Alice’s allegations. Vivienne steps in to have a private lab run the tests when, suddenly, Alice and the baby they’ve come to call Little Face disappear in the wintry night with nothing but the nightclothes they were wearing.

An award-winning poet, Sophie Hannah moves into crime fiction with an authority that marks her as a writer to watch. Her haunting debut novel is a deeply atmospheric and compulsively readable psychological thriller that pays homage to the genre’s greats yet boasts a compelling style all its own. Hannah masterfully ratchets the tension to a fever pitch as her offbeat detective team investigates a bizarre case that explodes into a mother’s worst nightmare.


Sophie Hannah is an international bestselling author of crime fiction and an award-winning poet. Little Face, her first psychological thriller to be published in the United States, was longlisted for the IMPAC Award and the 2007 Theakston’s Old Peculier Crime Novel of the Year Award. She lives in West Yorkshire with her husband and two children.


Did you always know you wanted to be a writer?

I always loved writing as a child—it was only a hobby really. It was what I did when I was supposed to be doing other things. So I always knew I couldn’t ever live without processing life via writing, but I never for a minute imagined I could do it full time, for a living—make a real job out of it!

You began your writing career as a poet and published numerous acclaimed works before moving on to crime fiction. What inspired the change? Are there any other genres you plan to explore?

I happened to publish poetry first, but that’s really only because it took me so much longer to get my crime writing up to a reasonable standard. I have always been obsessed with mystery and suspense stories, ever since I discovered Enid Blyton’s Secret Seven books, aged about five. I went straight on from Enid Blyton to Agatha Christie, and read every word both of them ever wrote. Then I became obsessed with Joy Fielding, and read every word she’d written, too. I was always determined to write crime/mystery fiction, and wrote a few quite immature and embarrassing (though I didn’t realize it at the time) crime novels before I finally hit on what I thought was a winning idea—the idea of a mother insisting that someone has stolen her baby and substituted another similar-looking baby in its place. By this time, I hoped I was mature enough to make the novel work, and another difference was that I did loads of research into hospital and police procedure this time, to make sure the book rang true. So, I suppose the answer is that I published poetry first only because it didn’t take me as long to learn how to write poetry, for some reason. I think I’m happy to stick to writing fiction and poetry—I can’t write drama at all, and I’ve tried several times, so I’m pretty sure I’m not destined to do that!

Are you attempting to address similar themes in your poetry and fiction?

My main interest, as a writer, is human behavior—the way people treat one another and the (often strange) workings of the human psyche. This is why I write psychological crime rather than, say, books about gun-running and drug smuggling. I’m not really interested in any crime story in which the crime is the equivalent of a job for the criminals (with the exception of The Wire, which is my favorite thing in the whole wide world). I tend to be much keener on stories in which the crime, whatever it happens to be, is a result of something in someone’s personal life—betrayal, jealousy, shame. My poetry is mainly about people and relationships, so in that sense is similar to my crime fiction, but a lot of my poetry is funny, which my crime novels aren’t. I mean, there are occasional jokes in my novels, but I like my psychological thrillers to be sinister and scary, so too much humor would, I fear, ruin the effect.

In many ways, England is the birthplace of detective fiction. How do you think British mysteries differ from those written in other countries?

Well . . . that’s a tricky one. I suppose the template for the traditional detective story is English: all the suspects gathered in the drawing room and the detective holding forth about whodunit and why, describing how each clue led him closer to discovering the truth. But then there are American and European writers whose books also follow that model. And if you take two of my favorite psychological thriller writers, Joy Fielding (North American) and Nicci French (British), their novels are very similar in terms of where they are in the crime genre: both write woman-in-peril relationship/emotional-based crime fiction. I think a lot of crime fiction readers like to read mystery novels set in a place that’s familiar to them—so England, if you’re English, or the United States if you’re American, because the more familiar the setting, the more terrifying it is when that reassuring scene is disrupted. But on the other hand, I know British crime novel fans who won’t read British murder mysteries, and much prefer ones from Scandinavia or the United States because it feels like more of an escape. What I think is great is that each country has its own traditions within the crime genre, and everybody learns and borrows from everybody else.

You yourself are the mother of two, yet the premise of Little Face is a terrifying possibility for any mother to even contemplate much less explore in vivid detail. Did the idea come to you when one of your children was a newborn?

Absolutely! I wrote Little Face shortly after my first child, Phoebe, was born. I was in hospital for four days trying to persuade her to come out, so when she finally emerged I was absolutely exhausted! The midwife offered to take her and look after her overnight so that I could get some rest—an offer I quickly agreed to, but then I found I couldn’t sleep, so I tiptoed out on to the dark, quiet, nighttime ward to get my daughter back. But when I tried to take the baby the midwife was holding, a baby who, like my daughter, was wrapped in a standard green hospital blanket, the midwife said, “What are you doing? That’s not your daughter!” She then pointed to a glass cot by her side that contained another baby, and of course I recognized Phoebe at once. But it started me thinking about how odd it is that you can be someone’s closest relative and yet not be entirely familiar with their face, that it’s possible to be uncertain, even for a few seconds, about whether a baby is or isn’t yours. If the midwife had handed me the wrong baby, the one I’d initially tried to take, I’d have been none the wiser. After four days in labor, in agony almost constantly (epidurals and pethidine didn’t work for me, I’m afraid!), I really didn’t know if I was coming or going—the hospital could have given me twins to take home and I’d probably have accepted it without question!

My husband Dan was due to come to the hospital the following morning to visit us both and I imagined myself saying to him, “This isn’t our baby! Our baby’s been swapped for another one!” Would he believe me? Would he assume that I, as the mother, knew better because of my maternal instincts, or would he trust his own impression that the baby in my room was our daughter? If he did, would he be angry with me? Would he think I was lying or that I’d gone mad? I knew instantly that this would make a compelling fictional scenario—a husband and wife who disagree about whether the baby in their house is theirs or not.

That gave me the opening scenario for Little Face, but at that point I had no idea how the mystery would be resolved. I couldn’t think of a reason for someone to swap one baby for another. Then, a few weeks after getting home from the hospital, some relatives were due to come and meet our baby for the first time. One was somebody my husband and I had a very difficult relationship with—a relationship that had almost totally broken down, in fact. As the visit approached, I found I couldn’t bear the idea of this person coming into contact with my daughter. Thinking of my baby-swap idea, I rang a friend from my ante-natal class whose daughter was almost exactly the same age as mine. “Can I borrow Hannah for the afternoon?” I asked, “and you can have Phoebe?” That way, I explained, this relative would believe she was meeting Phoebe, so family etiquette requirements would be satisfied, but I would know Phoebe would be safely tucked away at my friend’s house. Of course, my friend said no, alarmed by the madness of my plan! But I started to feel more pieces of my plot jigsaw falling into place, as I realized I’d come up with one possible reason why someone might swap one baby for another, and after that there was no stopping me! I thought of dozens of reasons why a person might substitute one baby for another—so many, in fact, that it was a wonder, I thought, that it wasn’t happening daily!

One might initially perceive Little Face as a woman’s mystery, yet its taut plotline has universal appeal. Who is your ideal reader?

From what I can tell based on my UK readership, it’s perhaps two thirds women to a third men who read my books. Women are drawn to my novels because they feature women in difficult and dangerous situations, and often they have to use their own wits to save themselves, with little or no help from anyone else. Each of my crime novels features a strong female lead. However, I also get a lot of e-mails from male readers, and they seem to like my books because of the plots. A lot of them are big crime fiction fans and they like the mystery/puzzle elements of my books—and some men even say they find my books really scary, which is great. I’ve always wanted to scare men! For me, plot is paramount. I love mystery novels in which the reader cannot even begin to work out what might have happened, what the explanation might be. I think these are much more interesting than novels in which you know from the start exactly what crime has been committed and it’s just a question of working out which of the suspect-motive-opportunity combinations is the correct one. If the reader is thinking, “What can possibly be going on here?” and have no clue how to begin to answer that question, and then the solution to the mystery is cleverly constructed and surprising, that’s the best possible kind of plot as far as I’m concerned. And I think this appreciation of the structural neatness of my work is what appeals to my male readers.

Is there any significance to the nickname Little Face?

I stole it shamelessly from real life—when my daughter was born, my husband called her “Little Face.” I said, “That’s good—I’m going to use that as the title for my novel.”

Alice and Simon are both fantastically unreliable narrators yet, if their narratives are dishonest, they contain lies of omission rather than outright red herrings. Was it difficult to tread such a fine line?

I wouldn’t say that Alice and Simon are unreliable, exactly. Or at least, if they are, they only are to the extent that most real people are. Both tend to avoid thinking/talking about things that are too difficult or painful to confront. I have heard from some readers of Little Face that they would have preferred a narrator who was completely sane and sorted and spoke the whole and objective truth all the time, but I don’t really know many people like that. I know far more people who give you their version or take on things, which is often highly misleading. I’m more interested in writing about slightly damaged people than I am in writing about plucky, uncomplicated good sorts battling away against the odds. That kind of person is too two-dimensional to make for good fiction.

Your story, The Octopus Nest, won first prize at the Daphne DuMaurier Festival Short Story Competition, and Little Faceis evocative of DuMaurier’s Rebecca. It also has echoes of Otto Preminger’s Laura and even Alfred Hitchcock’s Psycho. What were the novel’s primary influences?

Hitchcock is a major influence on my work. I love his films and I think I kind of internalized them at a pretty young age, and I couldn’t possibly write thrillers without subconsciously doing it according to the Hitchcock model. Vertigo, in particular, is my favorite. I want the atmosphere in my books to be very similar to the atmosphere in Vertigo—emotionally taut suspense! Other influences are Joy Fielding, Agatha Christie, Ruth Rendell, and Nicci French—and, of course, the great Daphne Du Maurier.

Detective Simon Waterhouse—with his fondness for The Smiths and Radio Four—certainly seems to be a new kind of detective hero. Yet his asexuality and somewhat stunted emotional development are also characteristics of classic detectives such as Sherlock Holmes and Hercule Poirot. Who are your favorite fictional detectives, and who are the crime writers you’ve been most influenced by?

My favorite fictional detectives, in no particular order, are: Hercule Poirot, Miss Marple, Inspector Morse (and Lewis), Inspector Wexford (and Mike Burden). I have also, at various stages in my life, been a fan of Sue Grafton’s Kinsey Millhone, Sara Paretsky’s V.I. Warshawski. Oh!—and I’m an enormous fan of Lloyd and Hill, the detective duo invented by the late English writer Jill McGown. Her books are very much in the Agatha Christie mold, and she’s superb. My detective hero Simon Waterhouse is, I hope, a one off. I didn’t set out to create “a detective character,” because I thought that would lead to cliché; instead, I created a character I found appealing, fascinating, and occasionally infuriating, and then gave him the job of detective. It seemed like a much better way round to do it.

Can we expect to see more of Simon Waterhouse and/or Charlie Zailer?

Oh, yes—their story has only just started in Little Face, and will continue in future books. I never even had to think for two seconds about what their story would be—it was in my head, fully formed, from day one. And I like to think it’s entirely unpredictable—unpredictability is very important in crime fiction, I think, even in the personal lives of the characters. It’s the next most crucial thing, after grippingness, which is number one. A lot of readers write to me to say they’re desperate for the next book because they want to know what Simon and Charlie will do next.


  • After her parents’ deaths, Alice removes herself from both London and her friends, deciding that, “the company of my friends, when I’d really needed them, had made me feel lonelier than any amount of solitude ever could” (p. 34). Have you ever had a similar experience? Explain what made you feel this way.
  • How does Alice’s occupation as a homeopath inform the way she deals with the danger facing her and Florence? Are there any other instances in which homeopathy—curing a disorder by ingesting its root cause—could be seen as a metaphor for a character’s behavior?
  • What is it that draws Alice and Simon to one another?
  • How would you feel about living in your mother-in-law’s home? What do you feel the appropriate distance/relationship should be between a married couple and their parents?
  • Imagine the novel’s proceedings from Felix’s perspective. Do you think he views Alice with the distaste she projects onto him? How might a young boy perceive such emotionally charged adult behavior?
  • Why does Charlie give Simon the opportunity to “rewrite history” (p. 64) even though she suspects he has fallen for Alice?
  • When Simon meets with Darryl Beer, the latter refuses to cooperate, telling the detective, “Next time you come here, make sure you know who Laura Cryer was, what she achieved” (p. 181). What kind of attachment has Beer developed to his alleged victim, and why does it prevent him from talking?
  • Is it simply Vivienne’s wealth that allows her to become such a dangerous megalomaniac, or would she have behaved as selfishly regardless of her status?
  • Of all the characters in Little Face, only Alice seems to have had nurturing parents and their deaths seem to have set her up as the perfect dupe for Vivienne’s domination. Do you believe that most parents exert a pernicious influence on their children?
  • Neither Vivienne nor David has any sense of just how much cruelty the other is capable. In general, would you say that parents are accurate judges of their children’s character? Or children of their parents’?
  • Why does Alice choose a disguise that looks so similar to Charlie’s appearance?
  • At the end of the novel, David—though innocent—wants nothing to do with either Felix or Florence. Was his earlier devotion to his children genuine or simply a show he put on for Vivienne? Give examples to support your theory.
  • How does Simon develop over the course of the novel? Will his revelations about Alice allow him to move past some of his emotional blocks?
  • Why is Alice willing to sacrifice her marriage to David in order to escape?
  • How does the novel’s denouement affect your opinion of Alice?
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Customer Reviews

Average Rating 3.5
( 22 )
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See All Sort by: Showing 1 – 20 of 22 Customer Reviews
  • Anonymous

    Posted February 2, 2012


    It was entertaining for a while, but in the end I was disappointed with the book. I would not recommend it.

    1 out of 1 people found this review helpful.

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  • Posted November 6, 2010

    Great Mystery/Suspense Fusion Book

    Sophie Hannah has written the following 4 books in sequence: Little Face, Truth Teller's Lie (Beware!!! AKA as Hurting Distance), Wrong Mother and Dead Lie Down. Little Face is my first and I have happily purchased the other 3 and saving them for my vacation. The issue of the changed baby (is it or isn't it) and all the different convoluted suspects make for an exciting premise. In addition, there is the tension between the 2 detectives Zailer and Waterhouse which bring the aspect of the typical British procedural into play. This book exceeded my expectations because some of Sophie Hannah's books seem to be marketed mainly as psychological thrillers and it was only through the Customer's reviews that I took a chance on this one. Hannah's next books have more stars so I know I won't be let down.

    1 out of 1 people found this review helpful.

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  • Posted March 13, 2010

    I Also Recommend:

    A little mystery with an interesting plot.

    I picked this book up after reading another by the same author and found this an enjoyable read as well. The story is interesting - part mystery but a good story too. I thought the plot was inventive and the non-linear style of writing to be creative if sometimes frustrating when I wanted to hear more from a given character before another chimed in. The book brings up a few subjects that would be interesting to discuss in a book-club setting. The characters seemed a bit one-dimensional to me at times, but I still enjoyed the author's ability to give each a unique voice.

    1 out of 2 people found this review helpful.

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  • Anonymous

    Posted September 2, 2013


    Love this author, but this book was terrible.

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  • Anonymous

    Posted February 4, 2013


    Love this book and all sophie hannah

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  • Anonymous

    Posted March 10, 2012

    great mystery

    Great fun if you like British mystery

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  • Posted March 8, 2012

    Highly Recommended

    Really enjoyed this novel. it had it moments where it had you thinking and was very well written. Sohie Hannah is a force to reckon with in this style of writing

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  • Posted July 3, 2011


    I was very disappointed in this book. I found character development minimal and the plot shallow and dull. The author's writing style was simple and unappealing to read. I regret spending money on this book when there are novels that wil more deeply appeal to me.

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  • Posted August 23, 2010

    A waste of money!

    After reading the back of the book I thought is sounded very interesting. Until I got a fourth of the way through it. The book drags on and on. Nothing really dramatic happened. It took a long time for me to read the book because it just wasn't interesting. I thought the plot was not realistic and I don't care for Sophie Hannah's writing style. This is the second Sophie Hannah book I have read, only because I bought both books at the same time. I don't like either book. I will not buy another Sophie Hannah book again. In the end it was a big waste of money.

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  • Posted March 20, 2010

    Hurrying to be done

    When I'm reading a book I love, I know as soon as I finish I'll wish there was more - no matter how satisfying the ending. "Little Face" has me rushing just to be done. Yes, I want a solution to the mystery - but I just don't care about the characters. I don't believe in them.

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  • Posted July 9, 2009

    Fast paced mystery!

    This one had me guessing up until the end! Great mystery, our book club read this one together.

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  • Anonymous

    Posted June 23, 2011

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    Posted January 24, 2010

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    Posted May 12, 2010

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    Posted July 9, 2011

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    Posted July 2, 2010

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    Posted March 11, 2011

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    Posted January 17, 2011

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    Posted May 1, 2011

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    Posted September 29, 2011

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