⭐️⭐️⭐️⭐️¼ – Fox walks the high wire, and mostly nails the landing. This Outback Noir blockbuster is original, fast-paced, fun, intense & was one I found near impossible to put down. Despite some pretty silly circumstances (on the investigative side) that could derail most books, Fox handles it all so well it manages to stay on-track.
There’s something irresistibly satisfying about watching a writer like Candice Fox let loose with unrelenting velocity and grit-drenched plotting — and The High Wire is exactly that: a propulsive, punchy thrill ride that moves like a storm front and rarely lets you catch your breath.
At its core, this is a kinetic, high-stakes thriller about a fugitive woman — the wrongly accused and maddeningly resourceful Sarah — who’s on the run not only from the law but from her past, a web of secrets, and a particularly dogged bounty hunter in the form of Marshall. It’s all go, from page one. Fox wastes no time on protracted exposition — she tosses you straight into the fire, and dares you to keep up.
Where The High Wire truly excels is in its action sequences — feral, balletic, and pulse-raising in the best ways. From car chases that practically peel the words off the page to brutal close-quarters confrontations that feel ripped from the Jason Bourne school of brawling, Fox choreographs the mayhem with precision. It’s cinematic, almost rhythmic — a study in tension and release.
The pacing is relentless. Chapters detonate like landmines. Dialogue cuts like glass. It’s one of those rare novels where you keep promising yourself “just one more chapter,” only to find it’s suddenly 1:00 a.m. and you’re 300 pages deep. The tension rarely plateaus — instead, it builds, coils, and snaps back repeatedly, keeping the reader perpetually on edge.
What holds this just shy of elite status — say, that elusive 4.5 or 5-star echelon — is Fox’s slight penchant for the implausible. Certain elements, while wildly entertaining, teeter dangerously on the edge of credibility. A few narrative turns stretch believability to its limits — moments where cause and effect feel dictated more by adrenaline than logic. It’s not quite enough to derail the novel, but it may make a few readers roll their eyes even as their knuckles stay white.
But in a way, that’s part of the Candice Fox signature — a style that marries grit and gall, violence and verve, with just enough moral ambiguity to keep things interesting. And make no mistake: her characters are well-wrought. Sarah is no damsel; she’s flinty, complex, and utterly capable. Marshall, too, is more than a walking badge — he’s burdened, conflicted, and surprisingly sympathetic.
If The High Wire were a film, it would be a high-budget, tightly edited cat-and-mouse thriller with smart casting and no bathroom breaks. It knows exactly what it wants to be — and aside from a few narrative indulgences especially in regards to Country Police Officer Edna — but it gets there in impressive fashion.
📖 Key Passages📚
“She didn’t run for freedom anymore — she ran because stillness meant capture, and capture meant the end of the only story she had left to write.”
“The bullet hit the side mirror first, then the glass exploded inward. He didn’t duck. He didn’t flinch. He just recalculated.”
“They were two broken things chasing each other through broken places — and maybe that was why neither one could stop.”