The Girl on the Train by Paula Hawkins
Read by Clare Corbett, Louise Brealey, and India Fisher
Length: 10Hrs 59Min
I often wonder how an author feels when their novel is compared to some cultural phenomenon. Paula Hawkin’s The Girl on the Train is being called the next GONE GIRL. This must be both exciting and frustrating for an author, who wants the book to be commercially successful, yet also must want it to stand on its own. I highly doubt, due to the way the publishing industry works, that Hawkins sat down and said, “I’m going to write the next Gone Girl.” Hell, there have been plenty of twisty novels full of unreliable narrators and despicable characters before Gone Girl and I am sure there will be plenty more . Yet, it’s hard to write a review without at least considering the comparison, and I thought I had two choices, ignore the comparisons completely, or jump on them with full gusto.
So, in my opinion, The Girl on the Train is a better novel than Gone Girl. The twist were more surprising, the set up more unique, and the characters more complex. While Gone Girls relied on it’s tricks to drive the story, Hawkins relies on her strong characterization and unique use of perspective to create a true mystery that never telegraphs its moves. Hawkins plays on our personal misconceptions about gender and class to effectively shape the narrative, creating a unique storytelling style. She often uses what we know or think we know against us. Her characters are unreliable, not because it allows her to surprise us with twists, but because humans are unreliable. Being that we too are unreliable, as readers, we create blocks and misconceptions that she exploits. While the twists aren’t as big as Gone Girl’s twist, I personally felt they were more effective. While the comparisons exist, The Girl on the Train stands on its own both as a thrilling mystery and a intriguing look at some well drawn yet complicated characters.
There are those of us Americans who believe that all British people basically sound the same, so what would be the point in casting three different British narrators to narrate this tale? As with many things, we are so wrong. Clare Corbett, India Fisher and Loise Brealey’s narration enhances this book, giving each character just the right feel that I doubt a singular narrator could achieve. The three narrators helped create three distinct characters, aiding in their development. With the way that the interlocking narratives and tricks of perspective played it, it was vital for each character to have her own distinct voice, otherwise the plot, which often balanced on the razors edge, would have been torn to shreds Yet, instead of this potential mess, The Girl on the Train was one of the most taunt, surprising novels I have read in a while, and easily my favorite audiobook of 2015 thus far.