My first time picking up Ruth Ware was exciting – I’d wanted to read her for ages! I started with The Woman in Cabin 10 as it sounded a bit less formulaic than some of her other plot lines, and I am always intrigued by a locked room mystery.
Lo Blacklock is an ambitious travel journalist with an amazing opportunity in front of her – she will set sail on a new luxury cruise liner, the Aurora, mingling with the other elite guests; this is sure to be a big break in her career. Prior to her departure, Lo experiences a traumatic event leaving her tired and anxious, but ready to relax for a week of decadence. Her week on board takes a turn for the macabre when Lo witnesses a woman being thrown overboard, and continues to spiral when her account is not taken seriously. All passengers are accounted for, so who was the woman she saw?
This was an average read for me: I wasn’t kept on the edge of my seat, but I was curious to see where Ware would take the story. Lo is continuously set up as unreliable, and as readers we question her account of what she saw, but not so much as to truly discredit her. Lo experienced trauma, she is sleep deprived, she drinks too much, and is on medication for anxiety – yet, none of these things made me question her sincerity. So, the unreliable narrator thread sort of missed the mark for me. I will say that I didn’t guess what the big reveal would be, which was refreshing.
This is a fairly standard, solid thriller. I don’t think it will blow fans of the genre away, but was still an enjoyable read regardless. I would recommend this book to readers who are not well versed in thrillers, looking for a light way to discover the genre – there’s enough tension to keep the readers engaged, but not too much violence to turn off less desensitized readers.
I’ve been reading a lot of books that are incredibly heavy in content as of late, and it was time for a thriller to mix things up – my version of lightening the mood. A.J. Finn’s The Woman in the Window was the perfect book to get me into a different head space. I feel like I understand the place that Finn was coming from in writing an agoraphobic character, and after learning about his life experience it’s easy to see that there is a lot of himself in the book, which I love.
Anna, once a successful child psychologist, is agoraphobic – she cannot leave her apartment. A tragic event is alluded to, but we don’t learn the heartbreaking truth until much later on. Living alone, Anna relies on grocery delivery to take care of her necessities. Anna also relies on her red wine delivery, clearly a little too much. Anna spends time exploring the world through the lens of her camera – her window is her access to an outside she cannot bear to face. When a new family moves in across the street, Anna watches them through her window and soon witnesses a horrific act of violence, forcing her out of her apartment. Anna desperately pleas for the police to investigate the crime, but between her agoraphobia and the wine bottles strewn about her apartment, they police are quick to dismiss her story.
This was a fun and absorbing thriller, but something didn’t fully click for me. I think it just felt sort of familiar – like this has all been done before, many times over. This book certainly follows the Gone Girl trend – lots of twists and turns with an unreliable female narrator. I wish Finn didn’t make Anna a borderline alcoholic – though she suffered tragedy, her agoraphobia would have sufficed as her coping mechanism. Was the alcoholism added in to have the reader question her mental state? I just didn’t see the point. Either way, I had a lot of fun with this book and know it will make a great movie. Finn is a unique guy and I can tell he put a lot of heart into this one, I will certainly pick up his next book. This was about a 3.5 star read for me, but I rounded up 🙂