(the identity of the villain is not revealed. Spoilers concern more the 'convtroversial' -for some- relationships in the book)
I must say that I find all those 'outraged' reviews really really amusing. For I always thought that one reads RS for the darkness and the ambiguity, and for having a peek into the forbidden, the repressed, the unconfessed. If you don't want the darkness of sexual desire to drive the story, then don't read (or write in) the genre. There are plenty of straightforward thrillers, or 'inspirational' romances, where the dark paths of desire are neither explored nor represented. So you'll be perfectly safe. The same applies to all those romances that are supposedly about bad boys (or bad girls) but they are, in terms of semantic content (not in the sense of descriptive sexual scenes) total vanilla. Innocuous and boring as hell.
I've read the revised version of LJ's 'See How She Dies' and I could tell that the original one was much more ambiguous about the blood relation between Zach and Adria. Thankfully the other forbidden relation (between an adolescent Zach and his stepmother) was not eliminated. There are frequent inserts very early on about the cloud over Zach's paternity that, I'm convinced, were not there in the original. I can only guess that LJ came under pressure from the blandnes-and-cardboard brigade to draw clear demarcating lines. Despite all that, the book still gives us a grippingly dysfunctional family. The five stars of this review are my way of praising the gloriously disturbed and disturbing Danvers family. Lisa Jackson draws a very vivid, convincing and engrossing family portrait full of alienation and self-alienation. She also handles the individual portraits very well too. For example, Zach at 17 feels like a young boy and the mature Zach like a man grown into his cynical skin. This is true for the other characters, central and peripheral, too. Even those who died before the 'present' time of the story are well drawn (Kat's despair and brokeness, her downfall, and the patriarch Witt's hubris and violence, all very well done). The shifts and different registers of a character lend the book a nice and intriguing modulation, and make one realise that we don't see that anymore in more recently published RS, where everyone and everything feels flat if not downright annoying, written according to strictly defined theme-formulas (thus only villains, or those murdered early on, are allowed to sleep with their stepmothers or women who can prove to be their sisters, never the main characters),and the cartoonish violence is thrown in in spades to compensate , supposedly, for the lack of writing skills and the lack of real engagement with the darker side of decent characters. Thus manichean readerships push RS writers into espousing a manichean horizon, one that never suited and never will suit this genre.
Lisa Jackson's book presents us with an exciting canvass of a privileged family whose members are individually and collectively drowning in broken promises, betrayals, failures and disappointments. Watching them all flailing about (even those who appear to be in control...control of what?) was far more interesting than who did what to whom. Recommended to all those who don't have a comfort zone, or, if they do, are stil more interested in books who push them out of it.