Dr. Margo Dunlop is at a crossroads. Her adoptive mom just passed away, and Margo misses her so much she can't begin to empty the house-or, it seems, get her brother on the phone. Not to mention she's newly single, secretly pregnant, and worried about her best friend's dangerous relationship.
The menacing atmosphere of Nikki and Susan’s gritty Glasgow—a side of the city previously unknown to Margo—effectively supports the novel’s themes of reconciliation, class divides, and violence against women. Mina is a master of the genre, with wide appeal, especially for those who appreciate character-driven stories with literary weight, like those of Tana French, Karin Slaughter, and Laura Lippman.
... a personal crisis that explodes into a compelling thriller ... Mina’s novel stands out in a genre that commodifies the dead bodies of women. Her characters are nuanced, complicated and never stereotypes, and her portrayal of the world of sex work isn’t lurid or voyeuristic. Furthermore, Margot is not the middle-class savior some would mistakenly believe that these women need. And although Margot’s mother was a victim of a violent crime, Mina juxtaposes her murder with the stalking of Margot’s best friend, Lilah, showing that women are the subjected to violence by the men in their life at every socioeconomic level ... at once a gripping thriller and an examination, and vindication, of a group of women who are often faceless, unsympathetic victims.
Mina’s concern with the effects of class on individual lives is evident, as Margo learns about sex workers, coming to admire Susan as she ferrets out the reason for her death. As the plot gains speed to a startling and abrupt end, readers will be left agasp and wanting more.