If you liked Gillian Flynn’s Gone Girl, you will most likely like The Girl on the Train. It has the same darkish underlayment, the same kind of convoluted plot line with events you didn’t really see coming.
It is narrated by three women. Rachel is the main figure, youngish, divorced, and a moderately upscale alcoholic. Every day she rides the train on her way to work in the city from one of the suburbs. It always slows down by a small development of homes which back onto the railway, and she idly sits there staring at the patios of the various homes. She quite often sees a young affectionate couple at one of the houses, and makes up a story about them, including what she thinks of as romantic names for them.
Turns out her interest stems from the fact that she used to live a few houses down from the couple she sees. Because of her alcoholism, her husband left her for another woman. He bought her out of the house, and moved the other woman, Anna, in.
Then, the news reports that the woman she sees, Megan, has gone missing.
Rachel, who still two years later is mourning the loss of her marriage and her husband’s betrayal, constantly phones him, sends email, and …. OK, stalks …. him. And she wants to get involved in the search for the missing woman.
We have portions from the first person point of view of Anna (the new wife) and from Megan, as well as from Rachel.
The book is all about secrets. Like Dr. House says everybody lies, well, everybody’s got secrets.
It’s a great read, and was on the Times best seller list for a long time. It is now going to be made into a movie, but… get this…. changing the setting from Britain to the USA. Whaaat? Who knows what idiocy lurks in the minds of movie makers.
I like these intelligent and inventive twisty plots. But gotta admit, I felt the final outcome was leaked a bit, but that is OK. Because I never figure out whodunnit in regular murder mysteries, so I got to feel clever. Feeling clever is a good thing.