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This novel is dark — it explores some very twisted realms of psychology, like a magnificent modern take on a classic James M. Cain noir (think of the end of Double Indemnity — the book I mean, not the movie; they're radically different).
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Quite apart from being superbly plotted, it is also beautifully written. It's full of sharp observation: "Sleep is like a cat: It only comes if you ignore it." And vivid evocation: "The canned heat of a closed house in July shimmered over me." Or: "A jet shot over the house, that awful sky-rip noise."
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As you may know, the book is as much about media scrutiny — the feeding frenzy of the press — as it is about a murder. And this brings out some of Flynn's finest moments. Here she is describing what it feels like to be under siege by the press: "The seagull cries of a few female news anchors" ... "Once the shades were pulled, it was like covering a canary for the night. The noise out front stopped."
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And it is a very acute piece of writing psychologically — "now that she was gone I could enjoy the idea of her." Particularly on the subject of marriage, where the book throws up some deeply unsettling observations: "Our kind of love can go into remission."
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Now having both seen the movie and read the book I am tremendously impressed at how they adapted it into a film. Because although all the essentials are the same, there are also huge differences. If you want a masterclass in turning a novel into a motion picture, then study this. (On the other hand, if you want to see how to turn a novel into a TV show, check out The Slap.)
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My single complaint (I have to have one): Abbreviating a character's name from the proper noun "Margo" to the presumed verb "Go" is as confusing on the page as it was on the screen. Budding authors beware.
(Image credits: All these covers are from Good Reads, including the Czech edition. I love the Czechs — they've just bought my novel.)
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