The idea of a woman who stands beside an alleged monster is an intriguing one, and very nearly well-executed here, if it weren't bogged down with other too-familiar plotlines.Īre we not men? We are-well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z (2006).Ī zombie apocalypse is one thing. She’s the faithful, steadfast wife, even when the police start poking around Glen’s life and it’s revealed that he has a proclivity for child pornography-Jean refers to it as his “nonsense.” But the question of how much she really knows about Glen’s guilt-he was acquitted on all charges and successfully sued the police, but Bella is still missing-is what the Daily Post’s Kate Waters, who finally coaxes the story out of her, is determined to uncover. Jean thought her marriage to Glen was the stuff of fairy tales: they’d married young, and he’d promised to always take care of her. With no immediate leads, the investigation, led by DI Bob Sparkes, flounders for weeks, which turn into months, until a tip leads Sparkes and his team to a blue van seen in the vicinity and thus to Glen, a delivery driver.
At its core is the abduction of 2-year-old Bella Elliott from her Southampton backyard.
Told from alternating perspectives-the widow, the journalist, the detective-and ping-ponging back and forth in time, Barton’s debut is unfortunately more conventional than it first appears. Only a week after Jean Taylor’s husband, Glen, stumbled in front of a London bus and died, the titular widow is beset by journalists begging for the exclusive rights to her story.
A woman whose recently deceased husband was the prime suspect in a horrific crime struggles with how-and if-she wants to step out from behind his shadow.
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