Little Face (Zailer & Waterhouse Series #1)

Little Face (Zailer & Waterhouse Series #1)

by Sophie Hannah

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Product Details

ISBN-13: 9780143114086
Publisher: Penguin Publishing Group
Publication date: 09/30/2008
Series: Zailer & Waterhouse Series , #1
Edition description: Reprint
Pages: 320
Sales rank: 440,306
Product dimensions: 5.20(w) x 7.90(h) x 0.70(d)
Age Range: 18 Years

About the Author

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

Reading Group Guide

INTRODUCTION

“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.

 


ABOUT SOPHIE HANNAH

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.

 


AN INTERVIEW WITH SOPHIE HANNAH

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.

 


DISCUSSION QUESTIONS
  • 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?

Customer Reviews

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Little Face 3.4 out of 5 based on 0 ratings. 35 reviews.
Anonymous More than 1 year ago
Great read
Anonymous More than 1 year ago
It was entertaining for a while, but in the end I was disappointed with the book. I would not recommend it.
rtpana More than 1 year ago
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.
kraaivrouw on LibraryThing 5 months ago
I really like Sophie Hannah's third book, The Wrong Mother, so I was looking forward to reading this one (her first) and was sorely disappointed. This book was so disappointing that it made me wonder if I should rethink how much I liked The Wrong Mother.Hannah alternates chapters between first-person narrative of the protagonist and third-person narrative of the cops. In The Wrong Mother this works really well, but in this book it feels too much like a device (which, of course, it is in both books). In thinking through this I believe the heart of the problem here is in the rather poorly cobbled together characterizations; they just don't seem substantial or even internally consistent and this makes their actions ultimately unbelievable and mildly bland and predictable in a Wonder Bread and Miracle Whip kind of way. There is a terrible waste of a really interesting premise and an even more terrible waste of some good writing that's buried in here along with all the clumsiness.I'm reading Hannah's second book and will decide how I feel about her then, but at this point I'm feeling dubious and sort of jipped.
bhowell on LibraryThing 5 months ago
This is a chilling psychological thriller, great escapism.
beetrootrabbit on LibraryThing 5 months ago
Fast paced thriller, a real page-turner. I was really disappointed by the ending all seemed like nonsense! I didn't particularly like any of the characters either.
brokenangelkisses on LibraryThing 5 months ago
I have been waiting to read this for almost a year since I first read the blurb, and I was certainly vindicated: it is superb.The story unfolds via two narratives set a week apart in which a race against time develops. In the first chapter, new mum Alice Fancourt describes the horror of arriving home to discover that the baby in the nursery is no longer her own. Within this chapter, the writer subtly positions Alice as a slightly on-edge character who seems frightened simply to be out of the house without her child, before the revelation of the strange baby. Already the reader is questioning Alice¿s control, which helps to understand why the local detective is so dismissive of Alice¿s `story¿. In the second chapter, narrated by an omniscient third person narrator and set a week in the future, there is a further shocking development as the local police officers learn that Alice and the baby are missing, possibly abducted. Now, another police detective is convinced that Alice¿s husband has hurt her somehow and is responsible for another, even more serious crime¿It sounds like a complicated beginning, but the way it is narrated is immediately engaging as the reader struggles to work out what is really happening. The clues are there throughout, but it is testament to Hannah¿s skill that the truth about Little Face is only revealed in the final chapter. The plot is intricately constructed without seeming to be because the reader is so focused so the psychological chill created by the dominating characters in Alice¿s life. Apparently convinced that his wife is lying, David gradually develops into a much more threatening and psychologically convincing character than he initially appeared. The records of Alice¿s informal talks with the sympathetic policeman make her sound thoroughly irrational, in sharp counterpoint to her own carefully narrated tale, and once again forces the reader to question her mental stability, raising the possibility of a thoroughly unreliable narrator. The police officers themselves are fully developed characters with large flaws, which is just as well since half the novel focuses on them. Detective Sergeant Charlie Zailer is adamant that Alice is mad, but this is largely influenced by her own feelings about Detective Constable Waterhouse, who seems to be falling in love with Alice. This leads to a complicated atmosphere as they try to work out who is hiding what, why, and how it might be linked to a supposedly-solved murder. These characters have survived to flourish in the next three books in this series (I'm now looking out for the fourth!).Hannah¿s written style is fluent and convincing; her characters are flawed but intriguing; her plot is skillfully developed and believable. This is an enjoyable read for those who like their crime fiction to focus on the psychological aspects rather than the evidence. Apart from some predictable moments in the denouement ¿ why do villains always feel the need to confess their crimes in full? ¿ this is an enthralling read with characters that will haunt you and a twist that will compel you to immediately start leafing back through the pages to refine your understanding.
TrishNYC on LibraryThing 5 months ago
Alice returns home from a health club visit to find that her baby girl, Florence, has been stolen and replaced with a different baby. Despite her husband David's protestations to the contrary, Alice insists that she is right and calls in the police. Enter Detective Waterhouse who though sympathetic to Alice's plight suspects that the Alice is probably suffering some sort of maternal hysteria. After all there is baby present and who ever heard of swapping one baby for another? By this point Alice is becoming desperate and cannot understand David's growing hostility and lack of support. But the story takes an expected turn when Alice and the swapped baby go missing. Detective Waterhouse is immediately suspicious of her husband believing that he has a hand in Alice's possible demise. Though I found this book very engaging for the first half, the story soon becomes very, very frustrating to read. I read the author's other book last year, The Wrong Mother, and I also found it frustrating but a bit more satisfying than this book. In this book, the characters were for the most part annoying and made little sense. Unfortunately I can't get too much into why because it would give away the story. I will say that the characters and their motivations seemed warped and very convoluted. Alice is quietly manipulative, weak and ultimately annoying. Her husband David seems to morph before our eyes into a menacing figure who one begins to suspect as not being as innocent and harmless as first thought. Detective Waterhouse borders on the unbelievable in the risks that he takes to protect Alice. After just a few meetings with Alice, he almost seems ready to throw away his career on very little evidence. I think the author was going for psychological thriller but for me, it just did not work because by the time the story was resolved, it bordered on the ridiculous and implausible. But despite my complaints about this book, I will say that the author managed to keep me turning the pages and wanting to see what would happen next.
pharrm on LibraryThing 5 months ago
Great - raw terror at finding your baby missing and no one believes you. Terrific psychological thriller. page turner
RedH on LibraryThing 5 months ago
Well, discovered this little beauty on a trip to Hatchards. I can now call myself a SOPHIE HANNAH FAN! Quite horrifying story but Sophie keeps you hooked all the way through!
ellenr on LibraryThing 5 months ago
Great thriller. Page turner with complex characters
GirlMisanthrope on LibraryThing 5 months ago
A great psychological thriller. Hannah's characters are genuine and well-defined, helping us understand their motivation. We get in to the minds of two police officers, one devoted to procedure and being "one of the boys", the other a brilliant and non-humble deductionist. You will meet one hell of a mother-in-law, her puppet-on-a-string son David, and Alice, his 2nd wife. All are shocked when Alice comes home from her first outing after giving birth and claims that the baby in the nursery is NOT her baby. The dynamics between these 3 characters is the page turner. I kept thinking, "get out of the house!!" We meet ancillary characters from each of the characters' lives. Who switched baby Florence? Why? Is it related to the murder of David's first wife? Can you trust the narrators?I figured out the villain by page 68, but this did not temper my need to get back home and open the book back up. It's quite a ride and the ending does not disappoint. Mysteries are unraveling until the last page.
murraymint11 on LibraryThing 8 months ago
I found it hard to connect with this book, mainly because I disliked both the main narrative voices. I found no empathy with Simon and thought that the conduct/dialogue of the police bordered on the ridiculous (too much swearing!). Alice came across as weak, insipid and feeble (needed a good slap!), with Vivienne and David acting as the archetypal villains. Altogether badly-written, with an unrealistic ending.
Spaceflower on LibraryThing 8 months ago
A woman who has recently become mother returns home to her baby and says that the baby is not hers, it is another baby, which she calls "Little Face". Her husband says the baby is theirs and that she must be mad or lying. Somebody is obviously lying. I really have to read on to find out.
Anonymous More than 1 year ago
Interesting in theory. Ending was unsatisfying.
Anonymous More than 1 year ago
Love this author, but this book was terrible.
Anonymous More than 1 year ago
Love this book and all sophie hannah
Anonymous More than 1 year ago
Great fun if you like British mystery
Sonnyci More than 1 year ago
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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Sue Dailey More than 1 year ago
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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