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217 of 237 people found the following review helpful:
4.0 out of 5 stars
A Great Novel with an Annoying Ending, August 12, 2007
This novel takes a bit to get going, but once it does you're sucked into a really great mystery novel. The character are flawed but still very real and you find yourself caring about what's happening to them, asking yourself why they are making decisions that are obviously bad, and annoyed when you don't get the ending you've been waiting for since page one. Even better, Tana French immerses us into modern Ireland; a country that continues to ride the Celtic Tiger economy while dealing with all that implies. There are two issues I have with the novel. First, the author basically gives us two plots and gives equal time to both; however, only one of those plots ever reaches any sort of conclusion and the one we most want to see solved is left open ended. Second, while the other plot is resolved it's resolved in way that was very annoying and a major letdown. Maybe the author thought she was being different but ending the novel this way, but it didn't work. No, I don't think every novel has to conclude with everything nicely tidied up, but when I turned the last page I was just left with a feeling of disappointment. Still, it's great novel, especially for an author's first published work.
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106 of 119 people found the following review helpful:
5.0 out of 5 stars
Enigmatic literary mystery thriller--don't expect genre!, January 10, 2008
After reading numerous reviews, I am compelled to counter a lot of the remarks by frustrated reader reviewers expecting more of a resolve than is served up in the story.
This is the kind of mystery that feels organic. Language, imagery, poetry, sensuality, metaphor, emotional density, visceral fear--that is how the story is revealed. This isn't exposition and a lot of declarative sentences. It is not formula. It performs a vivisection on genre. As much as it is a mystery of the present murder of a young girl and an unsolved past mystery of the main protagonist's boyhood (he is now a detective who as a young boy survived a violent attack on himself and two friends, who were never found), it is much, much more. The story is allegory. It is about the enigmatic quality of relationships, the complicated enmeshments glued by dysfunction, the underbelly of fear that keeps people from leading full lives, and the question of survival in a life of elliptical events.
Detectives Cassie and Adam were characters that haunted me around the clock, even when I was not reading the book. The characterizations were meticulous. The inner dialogue was fresh with deep, psychological insights, and the minor characters were not drawn for convenience or contrivance, either. Not one character seemed cardboard. The book was unputdownable; the story was a generous mix of harrowing and romantic and wry and witty and dramatic and tragic. I might even consider the word epic as an apt description. And it was this epic quality that makes it stand apart from your prosaic thrillers that flood the marketplace.
This is not Stephen King. It is way too literary, layered, full of allusion, and linguistically lush. The author makes it both accessible to the reader while also challenging the senses. She has a grasp of comic timing and dramatic irony. She loves her characters. It is evident in every beautiful sentence that Tana French writes. She did not use a cookie cutter to write this. This came from the marrow of her bones, the center of her heart. The unfolding of the story never feels forced or artificial.
If you are looking for a dues ex machina, or if you are inflexible about having all your ducks in a row, then this is not a novel for you. I was initially frustrated at the close of the novel because all the answers were not forthcoming. But as I chewed on it for a night and a day, I realized that my reaction is also a part of the story. I do not want to reveal too much, but the reviewers who criticized the author for essentially cheating them out of a certain kind of ending remind me of the characters in the story also working out their personal demons through this mystery. I do believe that the author slyly and discreetly puts the reader right there in that Irish berg. It forces the reader to reflect on personal issues concerning resolution.I am one of the characters by the time it is over--I am part of the town.
It is plausible, also, that Tana French could bring back Cassie, Adam, Sam, and several other characters in a future book. I would welcome their return!
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281 of 325 people found the following review helpful:
2.0 out of 5 stars
Uneven and disappointing, May 29, 2008
This review is from: In the Woods (Paperback)
I'm usually pretty bad at figuring out whodunnits, but honestly I solved the Katy Devlin murder at around the halfway point -- it was just too obvious. That was a major failure of the book made worse when Ryan addresses the reader at the end and suggests that we have been just as befuddled as he was. French perplexingly seems to suggest that she's pulled a "Murder of Roger Ackroyd" on us with a narrator who tells us in the very first pages that he lies. But in fact he hasn't lied, not even by omission; he's just been phenomenally stupid.
The second major failure of the book was in the way French crafts characters and relationships. The cutesy-poo banter between Cassie and Rob might be fun for a 16-year-old to read, but I found it boring, annoying, excessive and hugely unrealistic. Every single time they interact, there has to be an exchange that I guess the reader is supposed to find clever and sexy, but in fact, the playfulness of their relationship struck me as a kind of clicheed teenage romantic fantasy: the guy and girl are best friends (though not lovers -- yet) and everyone believes they're in love but they are the last to realize it themselves; then when they finally do sleep together, it changes everything...oh please, Ms. French; save that for your YA book.
Moreover, French seems to like the character of Cassie so much that she makes her just about perfect. Cassie is always right, and she does almost all of the detective work on the case. Rob does end up making a key breakthrough, but does so in a way that seems like a fluke on his part, plus that's his sole contribution; everything else is done by Cassie, who is also apparently the only person on the force who knows the definition of a psychopath and understands profiling. The result of this is that, ironically, after a while I started to wonder why we even needed Rob in the story at all. I also think this is part of the reason why many readers found Rob unlikable -- Cassie is so flawless that we can't help but see Rob as excessively flawed, which I'm sure is not quite what French intended.
And of course, there's the ending. I am not against ambiguity; in fact, many contemporary mystery novels leave at least some part of their plots unresolved as a way of adding realism; no matter how much we may want to seek the truth, a detective knows better than anyone how impossible it is to find it absolutely. And yet, as others have said, the ambiguity here serves absolutely no purpose (except, as has been suggested, to pave the way for a series). If the idea is supposed to be that "some things simply can't be uncovered," we hardly needed 400+ pages to understand that. Moreover, in these 400+ pages we learn almost nothing new about the 1984 case other than a few vague hints of what seems like supernatural forces -- and, importantly, Rob doesn't seem to have learned anything or changed at all after going back to the woods. Why even bother writing about it then?
On the plus side, yes, she can write beautifully at times, as many have said. But frankly I'm getting a little tired of all these super-mega-best-sellers covered with glowing accolades that make it seem like you have to read it or you'll be missing out on the event of a lifetime. I see it more like this: if you read this book, you'll probably find some of it quite enthralling but a lot of it disappointing; if you don't read it, don't worry about it too much.
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