Lapena writes the whole book in present tense, and the choice pays off immediately. Nobody has finished making their mistake yet. Anne and Marco Conti are still at the dinner party next door, still telling themselves a baby monitor and a half-hourly check counts as supervision, still twenty minutes from the walk home that ends with their front door standing open and six-month-old Cora gone. Chapters run short. The prose is plain to the point of being furniture, which turns out to be the right call for a book that wants you watching people rather than sentences.
The roving point of view is the engine. Lapena slides between Anne, Marco, the neighbors, and Detective Rasbach with almost no ceremony, so the reader always knows slightly more than any single character and never enough to relax. Around chapter six you stop reading paragraphs and start auditing them. Marco's business is failing and he hasn't said so. Anne's memory has holes in it she cannot account for, and the postpartum months have not gone the way the family photographs suggest. Circling both of them are Anne's parents, rich enough to have bought their way out of every previous problem and visibly willing to try again. Rasbach is the best company in the book: a detective who starts from the assumption that the parents did it, because the parents usually did, and who is unfailingly courteous about saying so.
The middle sags. Once the investigation settles into interviews and waiting, there's a stretch of the novel that circles the same three suspicions, and the efficient style that felt lean early begins to feel merely thin. Plenty of readers skim that patch. Then the last third arrives with reveals at a rate that would collapse a slower book, and one of them asks for real generosity. Lapena did plant them, though. Go back and the groundwork is there, buried mostly in what people declined to explain the first time around.
Why you should read
- Domestic suspense where the marriage is the crime scene
- Short chapters and present-tense momentum
- Procedurals with a patient, unshowy detective
- Reveals that stack up hard in the final third
What to expect
- Plain, functional prose that stays out of the way
- Multiple points of view, including the detective's
- A slack middle stretch before the reveals land
- Present tense from first page to last
The kidnapping is the hook. The marriage is the actual subject, and it is the harder story by a distance: two people discovering across one terrible week that the person they married has been keeping a parallel ledger of their life together, and that neither ledger balances. Setup honored, no cheating at the finish. Lapena also declines to hand the Contis a soft landing, and the final page carries a chill that a more cautious debut would have sanded down to something comfortable. She left it sharp.