Dana Gibson is a pathologically hypocritical, emotionally unstable, highly unethical child protection worker.
Having recently suffered a devastating trauma, and following some time off work, she returns to casework on a temporary contract that takes her from her home (and tenuous marriage) in Sydney to the rural city, Toowoomba.
Her interest on her first assigned case deepens after the mother of the children is murdered, along with her best friend, in suspicious circumstances the local police force seem both unwilling and unable to investigate. When the case is closed as a murder-suicide, Dana refuses to accept what she has determined is a miscarriage of justice and begins an investigation of her own.
The setting descriptions were *chef's kiss*. I felt transported to the Queensland rural city, and felt the season turn to winter and the temperature drop. I loved everything about the setting.
Unfortunately, Dana was also there.
Dana is a child welfare worker who looks down her nose at rural procedures as unacceptably inferior to her city office, while repeatedly crossing professional lines that no welfare worker should with the kids in her care. It may not have been so awful spending time with her (she does have a genuinely sympathetic recent trauma, and a highly traumatic job, after all) if the people she victimised were not leagues of vulnerability and worlds of traumatised beyond her. But they were.
Although able to point fault in a foster carer’s care (it’s not enough just to meet their physical needs, you need to support them emotionally), she does the same (and worse) with a young boy, Angus, who visits often. She’ll cook him pasta and set him in front of the TV, and keep him hanging around, but she has 0 emotional support while also involving a boy with buckets of family trauma (mother incapable of caring for him, long history of running from care homes to return to her abuse and neglect) in her goddammed murder investigation!
Not above gaslighting, either. When Angus responds appropriately to her chastising him, she hits him with a ‘no need to look like that’ (c’mon. Seriously? What about, “Sorry, I didn’t mean to get angry. I was just embarrassed.” YOU HAVE BEEN TRAINED IN THIS DANA DO BETTER.) I think she makes him pasta, though, so it’s all fine. When the novel wraps up with her declaring she is sticking around to be in Angus’ life, it felt like a tragedy ending. Absolutely nothing to celebrate.
She repeatedly lays hands (including aggressively) on a young girl who has literally just disclosed grooming and r*pe.
She takes two teenage girls to a gun range she believes an armed murderer to be.
I would not want her near any kids until she has some pretty thorough therapy and ethics training. Despite having a sympathetic story, I found her a pretty intolerable person to follow for a novel due to her behaviour, especially with vulnerable kids, and the absence of personal growth.
As far as the mystery aspect goes, I did guess the murderer quite early on, but one of the red herrings had caused me to question and doubt myself enough that I had to see the herring filleted before I ruled it out. I had somewhat anticlimactic response to a few points that were built up only to fizzle out, which was disappointing.
The dialogue left everything to be desired. Everybody speaks the same, despite the cast crossing many socioeconomic and education 'boundaries', and they all speak with complete and unreserved transparency. Not at all believable, and would have loved to see dialogue used to deepen character, raise questions/doubts, rather than communicate exposition.
1 Star | Really disappointed it passed through so many checkpoints to publication as-is