Showing posts with label Pan Macmillan. Show all posts
Showing posts with label Pan Macmillan. Show all posts

Review: Reasonable Doubt by Dr Xanthé Mallett

Thursday, 13 August 2020

Reasonable Doubt by Dr Xanthe Mallett
Released: 28th September 2020
Published by: Pan Macmillan
Genre: Non-fiction
Source: Publisher
Pages: 272
My Rating: 4 of 5 stars
We all put our faith in the criminal justice system. We trust the professionals: the police, the lawyers, the judges, the expert witnesses. But what happens when the process lets us down and the wrong person ends up in jail?

Henry Keogh spent almost twenty years locked away for a murder that never even happened. Khalid Baker was imprisoned for the death of a man his best friend has openly admitted to causing. And the exposure of 'Lawyer X' Nicola Gobbo's double-dealing could lead to some of Australia's most notorious convictions being overturned. Forensic scientist Xanthé Mallett is used to dealing with the darker side of humanity.

Now she's turning her skills and insight to miscarriages of justice and cases of Australians who have been wrongfully convicted. Exposing false confessions, polices biases, misplaced evidence and dodgy science, Reasonable Doubt is an expert's account of the murky underbelly of our justice system - and the way it affects us all.
Thank you to Pan Macmillan Australia for providing a copy of this book in exchange for an honest review

Perfect for true crime fans, Reasonable Doubt offers a harrowing and well-researched glimpse into the criminal justice process and what can happen when the wrong person pays the price. Detailing six cases of wrongful convictions, Mallett's accounts offer deep yet objective insight into how failings in how evidence is inspected and even investigators' own biases can play out with consequences that reach far beyond the crime itself. What makes this book so readable is that Mallett sets out her perspective in a way that is measured and critiques the outcomes in each of the cases with reference to the view that prosecutors should 'fight hard, but fight fair'. The additional information on forensic techniques and methods of analysis used in the cases was particularly eye-opening for those interested in the science and psychology behind the investigation process.

It also accounts for the vast majority of cases which go to trial and are run successfully - this balanced perspective adds to the credibility of the work as a whole and though clearly not a 'joyful' read, it is a thought-provoking one. Probing techniques such as guilt-testing and even failings to consider all possible routes of evidence and scenarios which could have set the innocent free, it's interesting, and somewhat disconcerting, to think that the scales of justice can be impacted on even the smallest change in how a crime and its suspects are presented.

FINAL THOUGHTS

If you're like me and enjoyed books such as The Secret Barrister, In Your Defence, or are already an established true-crime fan not one to shy away from a hard look at some of Australia's harrowing criminal cases, Reasonable Doubt is for you. This book offers what is a unique and fascinating perspective on perhaps the most fundamental tenet of our justice system which deserves greater scrutiny, that Mallett has done well in adding to with her educated prose. 

Review: The Innocent Reader: Reflections on Reading and Writing by Debra Adelaide

Tuesday, 26 November 2019

The Innocent Reader by Debra Adelaide
Released: 24th September 2019
Published by: Pan Macmillan
Genre: Non Fiction, Memoir
Source: Publisher
Rating: 5 of 5 stars
Pages: 257
Books are impractical companions and housemates: they are heavy when you are travelling, and in the home take up a lot of space, are hard to keep clean, and harbour insects. It is not a matter of the physical book, it is the deep emotional connection that stretches back to my early years. Living without them is unimaginable. 

These collected essays share a joyous and plaintive glimpse into the reading and writing life of novelist, editor and teacher of creative writing Debra Adelaide.

Every book I have read becomes part of me, and discarding any is like tearing out a page from my own life. 

With immediate wit and intimacy, Adelaide explores what shapes us as readers, how books inform, console and broaden our senses of self, and the constant conversation of authors and readers with the rest of their libraries. Drawing from her experiences in the publishing industry, the academic world, her own life and the literary and critical communities, she paints a vibrant portrait of a life lived in and by books, perfect for any student, bibliophile, editor, or simply: reader.
Thanks to Pan Macmillan for sending me a copy of this book in exchange for an honest review

There is something comforting about coming back to reading essays from fellow bookworms about just what makes reading such a major part of their lives. A few years ago I had the pleasure of eagerly flipping the pages of The Simple Act of Reading, edited by Debra Adelaide, which so eloquently described the joy and wonder which these words on a page can inspire. In The Innocent Reader we have a glimpse into Adelaide's own reading and writing habits, alongside how books had shaped her life from her early years, to raising a family and becoming an academic. 

I don't know how you cope. People would say this constantly over the months that followed. What with the other children, your work...There was no mystery. I told people I coped because I had to, as any other parent would do the circumstances. I coped because there was no question of not coping, there was quite simply no alternative...But there was another reason I could cope, which was one I could never articulate, seeing as it sounded so simple-minded at times, even callous. I coped because I read. My diary of that first year or so of the treatment is also a diary of my reading, haphazard and arbitrary, literary and highbrow.

It may seem easy to dismiss taking the time to pick up a book and escape for a little while into another world as something frivolous when we could always be doing something else - or if you are reading, for it to be at least something 'literary' or 'highbrow'. But what I love about Adelaide's voice which comes through so clearly here is that literary 'snobbery' doesn't need to have a place at the table in our everyday lives. After all, where is there room for that kind of ego when you are facing some of the biggest challenges of your life? The chapters detailing reading both for her son and herself at his bedside at Sydney Children's Hospital after he was diagnosed with cancer made clear just what a difference these simple moments with a book can make.

Everyone has a story in them. Everyone has a novel in them, or so it is frequently said. And humans tell stories...so it makes sense that people everywhere, from cocktail parties to wedding receptions and the signing queues in bookshops, lean forward confidentially and offer you a story, if only you are prepared to write it. 

While it was so interesting to read about the author's personal life in this book, The Innocent Reader also offers some really useful insights into the writing process and how to go about reviewing too. Now being a 'literary critic' is a whole other world from this land of book blogging, but the process of filtering your thoughts on a written work through both a subjective and objective lens is similar. It's definitely made me reflect on how I look at the books I read, and what that special something is that draws me to a particular author or writing style. With a balanced and measured approach of someone who is well within the literary scene, Adelaide offers her own advice and reflections in a way which all readers should be able to take something away from. 

FINAL THOUGHTS

As one of my favourite quotes from this book states, "There can never be too many books, or too many writers. Or too many readers, or too much reading." When it comes down to it, I couldn't have said it better myself.

{Extract} The Sunday Story Club: Real life tales of love, loss, trauma and resilience

Saturday, 6 July 2019


My favourite part of this book is that every chapter in The Sunday Story Club brought new insights into people's experiences - reminiscing on past mistakes and struggles, and looking into the deeper questions of who we really are and what's brought us to the present moment. Today I'm sharing an excerpt from one of my favourite chapters in the book called "Being known", starting off as a woman reflects on a chance encounter in Paris which prompts a reflection on her upbringing and how we come to be able to truly express ourselves without judgement.

The Sunday Story Club by Doris Brett & Kerry Cue
Released: 25th June 2019
Published by: Pan Macmillan
Genre: Non fiction/memoirs
Source: Publisher
Pages: 272
My rating: 5 of 5 stars
'I'm sorry. I didn't mean to cry. But the salons have given me the opportunity to look back and think about my life . . . I don't talk to anyone about these feelings outside of the salon.'

A book club without books. A key to the stories we all carry within us - wrenching, redemptive, extraordinary, laced with unexpected and hard-won wisdom. These are the stories that women tell each other when they gather for a deep and structured conversation - once a month in a suburban living room - about the things that really matter. They discover that life can be a heartbeat away from chaos; that bad things happen to good people; that good people do outrageous things; that the desire for transformation is enduringly human - painful and yet possible. A mother tells of the heartbreaking loss of control when her daughter develops anorexia. A sister reveals the high psychological cost of being hated by a sibling over the course of her life.

Husbands leave wives; wives take lovers; friendships shatter; finances collapse; children defy parents; wrong choices turn out to be right ones; agency is lost and re-claimed.

Profound, layered and clear-sighted, this collection of real-life stories reveals the emotional untidiness that lies below the shiny surface of modern life and reminds us of the power of real conversation to enlighten, heal and transform.

As a child and teenager, I had been quiet and rule abiding at home. I was never offered emotional or spiritual guidance by my parents. They never asked about my emotional life. I felt loved, but to them parenting meant providing the basics: food, shelter, clothing, schooling. I don’t think they knew how to do anything else. All my parents saw at home was the quiet girl who kept to herself and didn’t cause trouble. Outside the home, however, was a different matter.

I brought myself up, and my primers were Enid Blyton books – The Famous Five, The Secret Seven, The Five Find-Outers and Dog. I devoured her books and her fictional protagonists became my role models. They were brave and adventurous. They went where they weren’t supposed to go. They took risks. They got grubby and tore their clothes. They defied authority. And they weren’t afraid. These were my real role models. I became a rule breaker and a risk taker. I wasn’t quiet. And I didn’t conform. My friends were always in the fringe groups; I could never understand people who kowtowed to the in-group in order to be accepted.

My Paris experience, then, was for the adventurer in me – the part that had responded to the derring-do antics of my childhood literary models. I didn’t tell anyone about what I had done. Not because I was ashamed or embarrassed – I was neither of those – but simply because in my family we didn’t share our experiences, not even with each other. I grew up in a house of secrets.

My mother sailed on the last ship from Poland before the war. She was sixteen years old. The rest of her family had remained in Poland, and all of them were murdered. My father was sent by his family to England to escape the Nazis. The British interned him and sent him to Australia on a ship called the HMT Dunera, which would later become notorious for the mistreatment of the detainees, including the young Jewish refugees who were sent to a prisoner-of-war camp in Hay, New South Wales. Like my mother, my father was the only one of his family to escape Europe. He too was the sole survivor of his family. Neither of my parents talked about their war and pre-war experiences in any detail, but my older siblings and I grew up knowing that they both had suffered intense pain and loss and had witnessed almost unbearable cruelty.

I was much younger than my older siblings; I almost felt like an only child. At the dinner table, my brothers and sisters talked. They were older and louder than I was. If I chimed in, I was either ignored or told to be quiet. I became used to being the listener, the observer. Perhaps because of this, I also became the keeper of secrets. When my mother was 42, she unexpectedly fell pregnant. In those days, women of that age didn’t have children – they were considered too old. My mother was deeply embarrassed by her pregnancy. She refused to tell anyone and disguised her condition in loose clothing. She didn’t drive and would walk to her doctor’s appointments in the evening. She wanted someone to walk with her and I filled that role, which was how I came to learn of her condition. I was ten years old and, for nearly seven months, I kept that secret from everyone, including my family and my closest friends. About three weeks before the expected birth date, my mother called the family into the living room and announced that she was pregnant. That was the first they knew of it. Despite their remoteness, my parents had clear favourites among their children. My father loved the firstborn, a girl, because he had lost a sister in the Dachau concentration camp. The next child was a boy – the only son – and he and my mother were close. Then came a sister who was also close to Mum. And finally there was me, and I was a daddy’s girl.

And yet despite these connections, I’m not sure that my parents really knew any of their children. They knew what they looked like, of course, and what they achieved in school and so on, but they didn’t know who they were inside. 

They didn’t know what they thought, felt, feared, loved or hoped for. Emotional issues were never mentioned, let alone discussed. There was a matter-of-factness to everything and no curiosity as to why someone might feel or think one thing or another. We were brought up to adopt that same matter-of-factness, a kind of businesslike approach to life: ‘It happened, it’s over, move on.’ Everything was external and nothing was internal.

I never thought about my life – my inner life, that is – until I was in my sixties and I went to my first salon. My family’s attitude is, of course, the opposite of the salon approach, where we think about our inner lives, explore them, unearth our stories. When I went to my first salon, I was startled by the idea of meditating on the patterns and discoveries of one’s own life. It was as strange to me as if the sun had turned purple. And I loved it. The salon gave me permission to explore myself for the first time in a safe environment. When I told various stories about my life, I got feedback and a different perspective. I was quite stunned by some of the reactions.

There are things I’ve done that seemed very ordinary to me, but to some people they were amazing, brave and even, some said, inspiring. I was astonished when they said that. Hearing those responses helped me to grow and see different parts of myself and recognise the strengths I have. Listening to other people’s stories has also helped me grow. Hearing how they have responded to their own life experiences has helped me to sort out my own issues, given me a different appreciation of how my mind works. 

And it has been fascinating to see how people with different backgrounds, belief systems and philosophies approach the same topic. Sometimes, when you’re listening to other people’s stories about how they have dealt with various obstacles and difficulties in their lives, you think: Wow, that was impressive. And then you realise that you’ve also managed to deal with something like that. You can recognise parts of yourself in other people’s experiences and it allows you to see yourself from a different perspective. It’s a process that brings your strengths to the foreground – it frees you up. And everyone is open about their mistakes. There’s a recognition within the group that we’re all human; we don’t judge each other. I learned more about myself – who I was and who I had been – in the first three salons than I had learned in my whole life.

When I got engaged, my mother said to me, ‘You’re getting married and I don’t even know you.’ I said, ‘Yes.’ She wasn’t wistful. She didn’t say it regretfully. It was just a statement of fact. And I responded equally matter-of-factly – she was right; she didn’t know me.

I look back on that moment now and it strikes me that at least she was aware that she didn’t know me. That must mean something. And yet she wasn’t saying it with any emotion or sense of enquiry. It wasn’t intended as an invitation for me to open myself up to her. I think she was simply recognising the fact.

I was telling a friend of mine about this and she said to me: ‘If you had been like that stranger in Paris and handed your mother a photo of yourself, what would it have looked like?’ The question stopped me in my tracks. What would my photo have looked like? And then, as I thought about it, it occurred to me that maybe we’re really all going around like the man in Paris – handing out photos of ourselves that don’t reflect what we look like on the outside, saying, ‘Look, this is me, this is the real me,’ and hoping someone will finally recognise us.



This is an excerpt from The Sunday Story Club by Doris Brett and Kerry Cue, published by Macmillan Australia, RRP $32.99 and is available from all good bookstores. Any 'quoted' sections represent emphasis added by me. 

Review & Author Interview: Allegra in Three Parts by Suzanne Daniel - A 5-star Australian coming-of-age novel

Saturday, 1 June 2019


Allegra in Three Parts by Suzanne Daniel
Released: 28th May 2019
Published by: Pan Macmillan
Genre: Contemporary fiction/coming-of-age
Source: Publisher
Pages: 301
My Rating: 5 of 5 stars
I can split myself in two... something I have to do because of Joy and Matilde. They are my grandmothers and I love them both and they totally love me but they can't stand each other. 

Eleven-year-old Allegra shuttles between her grandmothers who live next door to one another but couldn't be more different. Matilde works all hours and instils discipline, duty and restraint. She insists that Allegra focus on her studies to become a doctor. Meanwhile free-spirited Joy is full of colour, possibility and emotion, storing all her tears in little glass bottles.

She is riding the second wave of the women's movement in the company of her penny tortoise, Simone de Beauvoir, encouraging Ally to explore broad horizons and live her 'true essence'. And then there's Rick who lives in a flat out the back and finds distraction in gambling and solace in surfing.

He's trying to be a good father to Al Pal, while grieving the woman who links them all but whose absence tears them apart. Allegra is left to orbit these three worlds wishing they loved her a little less and liked each other a lot more. Until one day the unspoken tragedy that's created this division explodes within the person they all cherish most.
I've always thought that the best books are ones where you can turn the last page and think "this moved me" or "I really learnt something from reading this". Suzanne Daniel's outstanding debut did both for me. It's a triumph for not only bringing such heart to a story which captures the complex links in familial ties, but one girl's coming-of-age as she seeks to reconcile where she fits into it all. Written from Allegra's distinct voice, there's a good balance here of both childhood innocence with some heavier themes of dealing with the absence of a parent, the state of women's liberation in Australia in the 1970s, women who are victims of violence and a glimpse into the migrant experience at that time.

'It's a funny thing, Allegra', says Sister, offering me another Shortbread Cream. People think respect comes from success, fame or fortune, when in fact the most admired quality at the end of the day is kindness. Because kindness, dear - kindness - is the best indicator of a person's wellbeing. Yes, indeed, kind people are those who truly take pleasure in their time on earth.'


Both of Allegra's grandmothers love her immensely, and her father too, though all of these adults in her life have been affected by the turmoil of her mother not being there with them. Joy and Matilde with their contrasting personalities and approaches to life made this a colourful read, with Rick becoming a more steady force as the story goes on. Though there's definitely a theme of female empowerment, and not just in an overtly feminist tone, there was also a look into positive male role models and how men grieve too when hit by life's tragedies.

'Can you smell the air coming in off the salt water?' says Rick, inhaling slowly. I follow his lead and breathe in the air. 'You know what I reckon, Al...the cure for everything is salt water. Yep, think about it: sweat, tears, and the sea. They're all made up of salt water. The first two can pump out your pain and the last one - the sea - well, it washes it away,'

In all it's the idea that self-knowledge is a continuous process which made this book really stand out for me, and it's definitely become a firm favourite on my shelves. This is an altogether impressive debut from Suzanne Daniel, she is definitely a local author to watch!

For more insights about Allegra in Three Parts, read on for my interview with Suzanne Daniel!

Thank you so much for stopping by on the blog Suzanne. and congratulations on releasing your first novel! What were some of the biggest challenges and best moments in your journey to having Allegra in Three Parts published?

Thank you for having me!

For a number of years writing my novel was a private thing, something of a hobby I was fitting around work and family. This gave me creative freedom but it also meant I wasn’t accountable to anyone else, or to a time frame. And without either of these, there was always something more pressing to do. I had to work hard to improve my self discipline, make myself go to the desk and spend time on something that was never urgent. If the writing was flowing well, I became totally absorbed and it took on a momentum of it’s own. I was loathed to stop and couldn’t wait to get back to it. When it wasn’t, I’d wander off to make another cup of tea, end up cleaning a cupboard or making a phone call. After a while I made myself push through the less inspired writing episodes by setting a daily word count and I wouldn’t allow myself to rise form the desk until I hit it. This became my magic formula.

I started to write the book in the third person but that wasn’t capturing Allegra on every level. I wanted her story to be visceral but I’d been told that trying to write in the first person was too ambitious for a first time novelist. I fiddled, tested and tweaked, and finally I found Allegra’s voice. Once I did, she kind of led me and we were away.

 
A quote from Simone de Beauvoir "Self knowledge is no guarantee of happiness, but it is on the side of happiness and can supply the courage to fight for it", opens this novel beautifully and sets the tone for the rest of the story. How did the state of feminism in Australia in the 1970s first come into the picture for the socio-cultural setting of Allegra in Three Parts?

I'm fascinated by this period in history and what was happening for women during the second wave of the women’s movement. Not just the street marches and the mobilising actions of the ‘sisterhood’, but for women out in the suburbs, some staying in marriages they were disillusioned with, others leaving them to carve out a new identity. Many women ended up leading double lives: feminist uni student by day, then a second shift as homemaker, wife and mother. Conversations were starting to change among women and between women and men. 

Women were opening up to one another in a new way, starting to understand through sharing their private thoughts, responses and feelings, that it wasn’t ‘just me’ but that what they were experiencing was almost universal. The personal did become political. And of course you have to fully understand yourself before you know what will make you content in the long term. Hence I chose the Simone de Beauvoir quote to open the novel. I also liked it because it sets the scene for Allegra’s ultimate coming of age. 

'Adult fiction' written from a child's perspective as the main character has made for some interesting reads. How did you find the experience of writing about some confronting issues such as domestic violence, racism and the absence of a parent through eleven-year-old Allegra's eyes?

I remember myself and know from raising three children, that a child’s development and understanding isn’t linear. An eleven-year-old can swing from almost adult insight, to breathtaking naivety many times in one day. Once I placed Allegra in the various confronting situations dealing with domestic violence, racism and an absent mother, I dug deep to put myself inside her head and her heart. I did a lot of research on the effects of conflict on a child as well as ‘cred testing’ Allegra’s responses with my youngest daughter, Francesca (who was about 14 when I started writing the novel) and my cousin’s daughter, Molly when she was actually eleven.
 
The complexities of finding true friendships and navigating how the 'social hierarchy' works as a young adolescent also seemed to underscore Allegra's development in the story. Do you think much has changed around these issues in today's age compared to when the book is set?

Thankfully I think things have improved somewhat in that adults and educators are now much more aware of the damaging effects that bullying has on a young person. In the 1970s, when this book is set, sadly bullying was often seen as just ‘kids being kids’ and so many children suffered dreadfully at the hands of bullies. And of course scratch beneath the surface and the bullies were usually suffering in some way themselves too. I know from being on the Board of a large senior school that a lot of effort and resources are now dedicated to combating bullying and creative strategies are put into place. Even so, humans are still programmed similarly and navigating the 'social hierarchy’ remains a challenge for children and adolescents today. And of course they are dealing with things that weren’t around in the 1970s like social media.
A key strength of this book and what makes it so memorable for me is how well-developed all the characters are, especially Allegra's grandmothers Matilde and Joy. What did you find significant about having these two women feature in the story?

I wanted to show love delivered in different ways to a child within one family so Matilde and Joy, being neighbours but so polarised, gave me a great opportunity to do that. They have very different backgrounds, aspirations and world views but both love Allegra wholeheartedly. I wanted my readers to see these grandmothers in all their humanity, magnificent one minute, flawed the next. And even though readers' allegiances might swing back and forth between Matilde and Joy, ultimately I hoped by the end of the novel they would at least understand both of them and certainly care about them too. To me a well-developed character is someone I care about and I really worked hard to make that happen, so thank you for finding my characters this way.

Without giving too much away, is there a favourite moment or quote that struck a chord with you wen writing this book?

So not to spoil things for those yet to read Allegra In Three Parts I’ll nominate the strudel making scene, the I AM WOMAN scene, the glass house scene, the tent scenes and the final pages. I could go on…


About the author


Suzanne Daniel is a journalist and communications consultant who has also worked for ABC TV, the Sydney Morning Herald, the United Nations, BBC (London) and in crisis management and social services. For the past twenty years she has served on community, philanthropic and public company boards. Suzanne lives in Sydney with her husband and family. Allegra in Three Parts is her first novel.

Review: Give Me Your Hand by Megan Abbott - The science behind survival of the fittest

Wednesday, 29 August 2018

Give Me Your Hand by Megan Abbott
Released: 31st July 2018
Published by: Picador
Genre: Adult thriller
Source: Publisher
Pages: 339
My Rating: 4.5 of 5 stars
Kit Owens harbored only modest ambitions for herself when the mysterious Diane Fleming appeared in her high school chemistry class. But Diane's academic brilliance lit a fire in Kit, and the two developed an unlikely friendship. Until Diane shared a secret that changed everything between them.

More than a decade later, Kit thinks she's put Diane behind her forever and she's begun to fulfill the scientific dreams Diane awakened in her. But the past comes roaring back when she discovers that Diane is her competition for a position both women covet, taking part in groundbreaking new research led by their idol.

Soon enough, the two former friends find themselves locked in a dangerous game of cat-and-mouse that threatens to destroy them both.
Thank you to Pan Macmillan Australia for sending me a copy of this book in exchange for an honest review

Megan Abbott's latest psychological thriller firmly cements her position as a master of writing dark, addictive stories about the boundaries of friendships and what it takes to succeed. From Dare Me, The Fever, The End of Everything and You Will Know Me, I became enthralled by her intelligent, whip-smart prose and ability to capture the malignant undercurrents behind even the closest relationships. In Give Me Your Hand she has once again lifted the bar, this time bringing the drama into the scientific world, among the labs, burners and microscopes which hone in on what remains unseen with the naked eye. 

Sometimes it feels like life's about understanding how much opposites meet. Kill to cure, poison to immunize, sacrifice to save. 

Competition can be both a propellant to greatness, or lead to an all-consuming quest to be nothing but the best. It's always fascinating to see how Abbott brings in these elements of human nature, and pushes her characters to their limits. Kit and Diana had been best friends for years, driving each other in high school to always be at the top of their game, and reach the heights of the careers they had dreamed of. But Diana had always been an enigma at heart, the type of person one could admire until they saw that there was something ominous behind her pragmatic facade. There is some primal instinct that linked the main characters and their work, a force that was both brilliant and dangerous. As the novel switches between then and now, the contest to be on the research team reached unexpected twists that went further than I could have anticipated. I was totally gripped by the secrets revealed about not just these two, but everyone else working in lab G-21. In a Megan Abbott novel the suspense is always cleverly framed by the characters' vices and deepest flaws, revealed in elegant prose that pulses with tension and leaves you wanting more. 

When you're in the sciences, when you know about things like neuronal biochemistry and the complex interplay between, say, hormones and emotion, you might imagine you have a deep understanding of the mind. Explain to me why I feel this way, think this way, dream this way, am this way. But consider it: Would you really want to know? 

A good piece of writing can also require some solid research to back it up, and it's clear that Abbott has done the groundwork in this case. I may not know much about the sciences or PMDD, though I may have learnt a thing or two after reading this. The sterile setting of a science lab contrasting with the messy web of secrets, back-stabbing and cover-ups made for a winning combination. Far from the sports field, small-town gossip or world of elite gymnastics of her previous books, Give Me Your Hand feels more mature in this professional workplace context. Notably, she never loses sight of the people that these women were before they reached the pinnacle of their careers and how the experiences in their teens shaped who they would become. It is this depth of character development which is always a stand-out, and part of what makes Give Me Your Hand so compulsively readable.

But to understand, you need to see so much more. Because everything affects everything else. One small speck in one narrow recess and everything else is dark with its shadow. And working with Dr Severin, I know I'll see it all. And I'll be a part of the grander seeing, the illumination of darkness. The hand outstretched to all those women in the shadows. Come with me, come, come. 

FINAL THOUGHTS

Give Me Your Hand is not a psychological thriller for the faint-hearted, but it's the most addictive one I've read in a long time. Smart, dark, and subtle in its revelations of the truth, as always I can't wait to see what Megan Abbott will write next.