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nessreadsalot's review against another edition
dark
emotional
sad
fast-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
5.0
Set in 1990, when a child is killed on a housing estate in London the finger is pointed at an Irish family.
This book takes us through the aftermath of the child's death and also back to tell the story of how the family came to London.
I loved this book, the despair and hopeless circumstances the family found themselves in were written so well and with such empathy.
The story of the child became almost incidental and faded to the background of the story of this family and I loved it.
This book takes us through the aftermath of the child's death and also back to tell the story of how the family came to London.
I loved this book, the despair and hopeless circumstances the family found themselves in were written so well and with such empathy.
The story of the child became almost incidental and faded to the background of the story of this family and I loved it.
Content Warnings
Graphic: Child death, Self harm, Suicidal thoughts, and Pregnancy
_inge's review against another edition
dark
hopeful
reflective
slow-paced
- Plot- or character-driven? Character
- Flaws of characters a main focus? Yes
3.5
This was a pageturner! And not necessarily because of the crime - this is the catalyst for uncovering the family’s story, the act itself doesn’t take center stage. I was invested in all the members of the Green’s family ánd Tom, so I was keen to keep reading to figure out how everyone related to each other.
This book doesn’t use quotation marks, and the numbered chapters usually indicate a shift in perspective. This does make it a bit confusing to follow sometimes. You could be reading multiple chapters from Carmel’s perspective, only to find a chapter from Ritchie’s point of view following those up without a prior warning. There’s quite a few characters to keep up with too, initially. I had to backtrack sometimes, either to figure out who’s who, but also to see who’s perspective I’m reading from. It doesn’t help that certain segments are paragraphs filled with a character’s thoughts, either.
In the interview on the last pages of my paperback copy, the author states they’d decided to remove major parts featuring Tom’s perspective as the focus should be on the family, not on him. I do get where this is coming from, but at the same time I thought Tom was always meant to be the one tying the story together. He’s the only character completely outside of the family, and he’s pretty one-sided most times (which the family isn’t either). He’s downright awful! But that’s what made his perspectives a nice change. He’s the only character who’s this full of himself, thinks this lowly of others and who has ulterior motives. I found his character fascinating and would’ve liked to see more of him. Once again during my Women’s Prize For Fiction 2024 reading I’m also noticing the blurb doesn’t really do this justice. The blurb made it out to be like Tom is the main focus here, so going into this I thought we’d get a deep delve into how the press works and what they’re capable of to get to a story first. These elements were there, but they never felt that important now.
Similarly, Lucy’s perspective wasn’t needed, in my opinion. In the interview Nolan says she wrote from her perspective when Lucy becomes a teen, to avoid having to write for a kid. But because the writing style doesn’t change from any of the (adult) characters in this book whatsoever, Lucy’s perspective felt a bit off. I knew she wouldn’t be thinking in the way she’s described to be doing here, which is lengthy sentences and an expansive vocabulary for how she really feels.
This is a really captivating read, every character felt alive to me. I would’ve liked less of Lucy and more of Tom, but that’s all personal preferences and I get why the author chose to go in this direction instead.
This book doesn’t use quotation marks, and the numbered chapters usually indicate a shift in perspective. This does make it a bit confusing to follow sometimes. You could be reading multiple chapters from Carmel’s perspective, only to find a chapter from Ritchie’s point of view following those up without a prior warning. There’s quite a few characters to keep up with too, initially. I had to backtrack sometimes, either to figure out who’s who, but also to see who’s perspective I’m reading from. It doesn’t help that certain segments are paragraphs filled with a character’s thoughts, either.
In the interview on the last pages of my paperback copy, the author states they’d decided to remove major parts featuring Tom’s perspective as the focus should be on the family, not on him. I do get where this is coming from, but at the same time I thought Tom was always meant to be the one tying the story together. He’s the only character completely outside of the family, and he’s pretty one-sided most times (which the family isn’t either). He’s downright awful! But that’s what made his perspectives a nice change. He’s the only character who’s this full of himself, thinks this lowly of others and who has ulterior motives. I found his character fascinating and would’ve liked to see more of him. Once again during my Women’s Prize For Fiction 2024 reading I’m also noticing the blurb doesn’t really do this justice. The blurb made it out to be like Tom is the main focus here, so going into this I thought we’d get a deep delve into how the press works and what they’re capable of to get to a story first. These elements were there, but they never felt that important now.
Similarly, Lucy’s perspective wasn’t needed, in my opinion. In the interview Nolan says she wrote from her perspective when Lucy becomes a teen, to avoid having to write for a kid. But because the writing style doesn’t change from any of the (adult) characters in this book whatsoever, Lucy’s perspective felt a bit off. I knew she wouldn’t be thinking in the way she’s described to be doing here, which is lengthy sentences and an expansive vocabulary for how she really feels.
This is a really captivating read, every character felt alive to me. I would’ve liked less of Lucy and more of Tom, but that’s all personal preferences and I get why the author chose to go in this direction instead.
Content Warnings
Graphic: Addiction, Adult/minor relationship, Alcoholism, Child death, Death, Drug use, Mental illness, Abortion, Pregnancy, Abandonment, and Alcohol
Moderate: Drug use, Eating disorder, Infidelity, Physical abuse, Self harm, Violence, Vomit, and Death of parent
lagaialettrice's review against another edition
emotional
fast-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
3.25
Content Warnings
Graphic: Alcoholism, Child death, Self harm, and Pregnancy
linguaphile412's review against another edition
dark
emotional
hopeful
reflective
sad
slow-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
2.0
Content Warnings
Graphic: Alcoholism, Child death, and Alcohol
Moderate: Mental illness, Self harm, and Pregnancy
Minor: Adult/minor relationship, Cancer, Child abuse, Death, Grief, and Death of parent
reads_eats_explores's review against another edition
challenging
dark
emotional
mysterious
tense
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
4.5
Set in the 1990s, ambitious reporter Tom Hargreaves stumbles across a scoop: a dead child on a London estate. At the centre of the suspicions are one reclusive family of Irish immigrants; others on the estate call them ‘degenerates’, ‘bad apples’. But are they even to blame, or is this a modern day witch hunt?
Fiercely ambitious Tom is determined to get to the bottom of the events, but he has a brisk disregard for the ‘peasants,’ i.e. anyone, not a celebrity or journalist; he believes that nothing should get in the way of a good story, particularly none of the ‘ordinary human failings’.
Tom convinces the newspaper to put the family up in a hotel with all expenses paid. In the conversations that follow, the family are forced to confront the secrets, prejudices and silences that have trapped them for generations.
Told in a stream-of-consciousness style from various characters' points of view, this adds intimacy and depth to the narrative that would otherwise be difficult to achieve so well here. The author's exploration of love, desire, and mental health is poignant and beautifully done.
Nolan’s characters are tangible and diverse in their physicality and emotion. There is a grittily true sense of the familial ties of the Green family; Nolan’s observation of their inner and outer emotional lives and the predispositions to why they act as they do are spot on.
Ultimately this is a stunning portrait of what it is to struggle in the face of incomprehensible circumstances, of repression, and its resulting damage.
I expected this book to be more like ‘Acts’ a "messy woman" book which I adored, but this is much more of a thriller/mystery. And I loved it; utterly compelling reading. 4.5 ⭐
Thank you to the publisher for an advance copy.
Fiercely ambitious Tom is determined to get to the bottom of the events, but he has a brisk disregard for the ‘peasants,’ i.e. anyone, not a celebrity or journalist; he believes that nothing should get in the way of a good story, particularly none of the ‘ordinary human failings’.
Tom convinces the newspaper to put the family up in a hotel with all expenses paid. In the conversations that follow, the family are forced to confront the secrets, prejudices and silences that have trapped them for generations.
Told in a stream-of-consciousness style from various characters' points of view, this adds intimacy and depth to the narrative that would otherwise be difficult to achieve so well here. The author's exploration of love, desire, and mental health is poignant and beautifully done.
Nolan’s characters are tangible and diverse in their physicality and emotion. There is a grittily true sense of the familial ties of the Green family; Nolan’s observation of their inner and outer emotional lives and the predispositions to why they act as they do are spot on.
Ultimately this is a stunning portrait of what it is to struggle in the face of incomprehensible circumstances, of repression, and its resulting damage.
I expected this book to be more like ‘Acts’ a "messy woman" book which I adored, but this is much more of a thriller/mystery. And I loved it; utterly compelling reading. 4.5 ⭐
Thank you to the publisher for an advance copy.
Content Warnings
Moderate: Addiction, Adult/minor relationship, Alcoholism, Body shaming, Bullying, Child death, Chronic illness, Cursing, Death, Drug use, Eating disorder, Mental illness, Misogyny, Racism, Self harm, Sexual content, Suicidal thoughts, Toxic relationship, Violence, Medical content, Grief, Medical trauma, Abortion, Death of parent, Murder, Pregnancy, Toxic friendship, Alcohol, Dysphoria, Injury/Injury detail, and Classism