Another author's blurb on the cover praises this author as a major talent. Respectfully, I disagree.
Here's the issues with this book:
Everything that happens to the character is effortless. She happens to have a rich friend who she can stay with. Her mother (who is portrayed as awful, but yet is shown to be pretty decent by her actions) comes to help her when she loses her job. She gets a job in her hometown from a former boss who agrees to pay her commissions and lets her work the hours of her choosing. She finds not just one but two mysterious men who she's seeking, as well as the ex of her current flame. The guy she's dating at the beginning (who we know will be tossed aside like week old lettuce, it's so clearly telegraphed) disappears with only one irate conversation. And so on.
The main flaw with this type of easy breezy plotting is that it's not inherently wrong (see Bergdorf Blondes as exhibit A of it done well) but that's it's *wrong for this genre*. A thoughtful, moody thriller about the art world, big money, and going back home again should not be plotted like a candy coated beach read.
Moving on.
Issue 2 is that this heroine is....not likeable. Again, an unlikable heroine can be overcome (Karen Slaughter and Gillian Flynn both write prickly, odd, and unlikable heroines you somehow root for anyway), but not in this genre.
The author uses characters to show how beautiful and likable this girl is, creating an odd see-saw effect when their character integrity must be bent to do so. For example, a supporting character named Greg at first comes on to her, then changes into an antagonist, then in *one line* the heroine says she's aware she told him she hates him, but she needs him, okay? Okay, done. Jeez.
Issue 3 is the exposition/research. Research done well is terrific. It should be seamless. There were big chunks of writing that seemed very academic--about the art world, Islamic pottery, even the military (don't CARE!! don't CARE!! move on!!) and the way they do things.
Issue 4: Tyler Ford, our brooding hero is A FLAMING ASSHOLE. Other than his much vaunted looks and his ability to f---the brains out of our heroine, he has ZERO redeeming qualities. Honestly, it's borderline creepy and abusive. He lies, he disappears, he ignores her clearly stated boundaries, he refuses to explain a very damning story about him, he is revealed as a thief (not a spoiler, it's hinted at strongly early on and on the back flap). I don't see anything I would consider the basis for a real, mature, long lasting relationship and I HATE that it's presented as more desirable than her "boring" prep school guy who actually acts like a decent guy.
Issue 5: Minor character we meet once (and offstage) is villain. 'Nuff said.
Issue 6: Through lines of interaction are brought up and dropped. The husband of a friend hates Tyler, the love interest. Next scene: (the next DAY) they're on a boat with two other couples, laughing and having fun. Fight never resolved.
Jane, a childhood friend of the heroine, and the heroine get into a stupid, drunken, one sided fight, and then the next day the heroine just goes to work ("wearing one of Jane's cashmere sweaters from my desk drawer"). Does Jane have any function in this book except to act as a sounding board for the heroine's mental state? Come on.
I could go on and on about this book but at the risk of sounding unhinged, I'll leave it there.
If you're trapped on a bus with only this book, I'd say go ahead and read it. You won't be enraptured but you won't want to fling it across the room.