Good as Gone
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- ¥600
発行者による作品情報
Eight years ago, thirteen-year-old Julie Whitaker was kidnapped from her bedroom in the middle of the night.
In the years since, her family have papered over the cracks of their grief – while hoping against hope that Julie is still alive.
And then, one night, the doorbell rings.
Gripping, shocking, and deviously clever, Good as Gone is perfect for fans of The Girl on the Train and The Ice Twins – and will keep readers guessing until the final page.
Reviews
"Compelling and emotionally nuanced." - The Seattle Times
“Both a mother-daughter and a family-under-fire story, GOOD AS GONE is laden with confused identities and a thrumming plot..” - Bustle
"Debut novelist Gentry delivers on genre expectations with crisp, unobtrusive writing and well executed plot twists." - Kirkus Reviews
"Clever perspective changes give Gentry's debut building suspense…Fans of Paula Hawkin's The Girl on the Train will enjoy the shifting points of view and the complex female characters." - Booklist
About the author
AMY GENTRY is a book reviewer for the Chicago Tribune whose work has also appeared in Salon, LA Review of Books, and the Best Food Writing of 2014. Good as Gone is her first novel.
PUBLISHERS WEEKLY
The life of Anna Davalos, the narrator of Gentry's suspenseful if flawed first novel, has been defined by a single night when her 13-year-old daughter, Julie, was abducted at knifepoint by an intruder into their Houston home, a crime witnessed by her terrified 10-year-old daughter, Jane. Eight years later, Anna's relationship with Jane is strained, and no one is looking for Julie any more. Anna's life is upended again when Julie shows up on her doorstep, traumatized physically and mentally. Julie's account of her captivity is harrowing, but Anna soon suspects that Julie isn't being completely honest about what happened. Those doubts extend to the basic question of whether the young woman is really Julie or a manipulative, cynical imposter. As the family adjusts to the new reality, Anna's relationships with her husband and Jane suffer. Gentry does a good job of making the characters, especially Anna, psychologically plausible, but the final revelation is a letdown.
