I picked this book up on a whim, knowing nothing except that the cover is cool and that the jacket copy promised a disappeared girl and a bereft family, and you know there’s nothing I like more than a bereft family. Okay, that’s totally not true, but I am definitely fascinated by how people react to trauma, especially a close-knit group of people, so I was intrigued.
The book starts off pretty okay, with a girl and her brother gallivanting about the mountains of Colorado on a family vacation. The girl, Caitlin, is a distance runner looking forward to athletic-scholarship-funded college in the fall. The brother, Sean aka “Dudley”, is, as you may expect by the nickname, less athletically inclined but still for whatever reason willing to grab his mountain bike and at least attempt to keep pace with his sister. But then an accident happens and the kids’ parents get that call that no parent ever wants to get, that Sean is in the hospital with lots of injuries. And Caitlin? She’s gone missing, in the mountains, where no one is going to be found who doesn’t want to be found.
So that’s pretty sweet, right? And really, this is the only reason I stayed ’til the end — I had to know what happened to Caitlin and whether she’d be found and how her family was going to survive this whether Caitlin survived or not.
But everything else, ecch. I just told a friend the other day that I love non-linear stories, but I forgot the caveat that I like non-linear stories when I can take the non-linear pieces and slot them into a timeline that will be nice and pretty by the end of the book. This one, not so much. Not only does Johnston hop back and forth in time, but he does so without warning, without segue, and without any darn proper nouns. He’ll set up a scene with a girl and a boy and you have no idea which girl and which boy they are or when they are or where they are for at least a paragraph and that’s an interesting style, sure, but I do not like it.
And then once you figure out what characters the author’s even talking about, they are mostly inscrutable. I have no idea what’s up with the dad or the brother for the most part, and there’s this whole extended bit with the brother and a hitchhiker and a bar that serves, to me, only to show that dudes are horrible even when they’re the good guys, which is a recurring theme throughout the novel. On the chick side, Caitlin’s plight is pretty straightforward and the mother’s issues are pretty standard, and for the most part they’re just weak and helpless women waiting for one of those horrible men-folk to help them out, which bah. The only character who gets any semblance of an arc is the sheriff’s deadbeat brother, who starts off one-dimensional and then is magically given new and interesting dimensions and becomes actually very cool, and I cannot figure out why all of the characters couldn’t be that cool from the start.
Luckily that gripping plotline comes around again to become this utterly horrifying and awful ending which would have fit better on a much different story, but I wouldn’t have read that story due to it being far too visceral. If I could have that ending as a standalone short story, though… that might work.
Overall there were enough good pieces to this story that I think it turned out decent, but knowing what I know now I would probably not have started this book. It’s like catching one of those murder-of-the-week shows on TV — I didn’t particularly want to stick around another hour (or several, in this case), but I just had to know.
Recommendation: For those who like suspense and intrigue, but really moreso for people who aren’t put off by unusual narrative styles.