I Let You Go by Clare Mackintosh - review

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.

Veronica's Room by Ira Levin

Mention the name of Ira Levin, and most people will think of Rosemary's Baby, his stunning novel,which was turned into an equally stunning film. Many will think of The Stepford Wives, a thriller with a brilliant central idea, and a good number will mention The Boys from Brazil. Ask about his plays, and it's a racing certainty that the one to spring to mind will be the highly successful Deathtrap. Ask about his mystery fiction and a good number of folk will recall A Kiss Before Dying, a superb story with a terrific plot twist which has twice been filmed.

Very few people, I guess, will associate Levin's name with his 1973 play Veronica's Room. It was a commercial flop, although it has been revived from time to time, and it has never been filmed. Arguably, it's too unsettling to have been a commercial success. I've never seen it staged, but I've read it twice, once about thirty years ago and again the other day. Each time I was greatly impressed.

Susan, a 20 year old woman who is out on a date with a new boyfriend meets a much older couple. They are struck by her resemblance to Veronica, someone who died almost 40 years earlier, and they explain how it would be a huge benefit to a dying woman if Susan would agree briefly to impersonate the late Veronica. Susan allows herself to be persuaded.

Naturally, things take an unexpected turn. Could it be that Susan really is Veronica, and that the events of this play is taking place in the Thirties rather than the Seventies? Who is playing games with whom? The audience doesn't quite know whom to believe. The climax is quite shocking, and I can imagine that many found it a turn-off. But I rate Veronica's Room as one of the cleverest and most memorable crime plays I've ever read. I'd love to see it performed on the stage one day.