I am a fan of psychological suspense, and in recent years I've read plenty of examples of the currently fashionable "domestic suspense" novel. Gone Girl, so well-written, is outstanding among them, but having just read Clare Mackintosh's best-selling debut I Let You Go, I'm inclined to think that, in terms of storytelling power, it's at least as good.
Books of this kind tend to have certain common features, including one or more jaw-dropping plot twists. The snag is that sometimes the twists aren't really credible. No such problem with I Let You Go, where the first major plot twist, after a measured but interesting build-up of suspense, comes half-way through the book. When this particular structural device works well, as it did in Gone Girl, and many years ago in Ira Levin's brilliant A Kiss Before Dying, it can be highly effective. So it is here.
The story begins with a hit-and-run car accident, which kills a five year old boy called Jacob. The police investigation fails to yield quick results, and we follow a developing relationship between two of the cops, as well as the enigmatic behaviour of grieving mother Jenna, who describes the way in which she begins a new life in south Wales. Then comes the first major twist in the story, and we hear for the first time from another voice.
I don't want to say too much more, because to do so might spoil some of the pleasure afforded by this novel. It's a clever story, and I admire clever writing, but there's something else to be said (cryptically, to avoid spoilers!) This novel, written by a former police officer, gives us a shocking insight into a particular aspect of human behaviour that I found utterly compelling. It's all the more powerful because it seems highly authentic. Was I impressed? You bet.