The Favour
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4.0 • 1 Rating
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- $10.99
Publisher Description
‘Taut, compelling and deliciously dark’ – B. A. Paris
Leah Dawson and McKenna Hawkins had a lot in common, but they had never met.
They are smart, professional women living in the same sunny, prosperous neighbourhood in lovely houses with picket fences and beautiful gardens. And they were both married to successful, good-looking men who both seem bent on having ‘the perfect wife’.
They don’t – ever – find themselves in the same train carriage or meet accidentally at the gym or in the coffee shop. And they don’t – ever – discuss their problems and find common ground.
But they do cross paths. And they see something each recognizes in the other.
That they are living in hell.
Neither narrator is unreliable. They always tell us the truth. And their truth hurts. A lot. Because these two attractive, intelligent professional women are living in a hell of their husband’s making. And there is no way to get out of hell. Is there?
PUBLISHERS WEEKLY
Lawyer Leah Dawson and pediatrician McKenna Hawkins, the protagonists of Murphy's claustrophobic debut, appear to have idyllic lives, but both are trapped in abusive marriages. Nine months earlier, Leah's husband, Liam, got her fired so she could concentrate on being a perfect wife. McKenna's husband, Zack, made her quit working after she miscarried so she could focus on starting the family she no longer wants. Leah and McKenna are strangers, but when Leah sees McKenna in the liquor store one afternoon, she senses a kinship and tails McKenna home to an upscale neighborhood near her own. Liam is away, so Leah spends several evenings watching through windows as Zack menaces McKenna. Leah's anonymous 911 call accomplishes nothing, so when Zack's threats turn to violence, Leah intervenes, altering both women's fates. Though the men in Murphy's story lack dimension, Leah and McKenna are fully realized characters whose anger, fear, and despair are palpable. A kaleidoscopic narrative amplifies tension and imparts nuance by examining the two households from inside and out. Murphy paints a powerful portrait of domestic abuse.
