SPOILERS AHEAD!!
It's hard to know where to begin critiquing this novel. But maybe I should start with the title, which is misleading. Because it isn't about a stranger in the woods, but a man that's well-known in the community, including to the children he has been abusing and grooming.
For the first half of this book nothing much seems to be happening. Yes, the reader is drawn in by the first chapter in which we learn that an 8-year old girl, left alone in a house in a remote part of northern Scotland, decides to wander the woods at night and is captured by a man who demands respect and love from her. We soon learn that the girl is so drugged up by him she goes into a coma. She dies. Very convenient for the perpetrator.
Then the story changes tack and we are told that award-winning photographer, Isla Wilson, has accepted a commission to take a series of photos for a portfolio celebrating the work of local architect, Alban McGregor. Isla lives in Sydney, Australia and the architect lives near Inverness in Scotland (seems there isn't sufficient talent in the UK for this job!). But when Isla arrives at Greenmire it's obvious that neither Alban nor his wife, Jessica, are thrilled at the prospect. Even though this was Jessica's idea and Alban's assistant, Greer, had executed on it, it's as if Isla's appearance is one huge inconvenience. Or worse.
For page after page we're told about the development of "the portfolio" and introduced to such a huge cast of characters that I found myself having to write them all down to keep track of who belonged to which of four families, each with a plot of land abutting the others. Yet each of them, including Isla, come across as two-dimensional.
Then everything, at least as far as the plot is concerned, goes haywire. If I had the chance to interview anyone involved in the production of this book I'd want to know how realistic they think it is that even an amnesiac (brought on by a grand mal seizure two years previously) would have forgotten a) that she'd already been to Scotland as a student, b) had gotten pregnant, and c) given the baby up, without any clue that any of this had happened.
The aftermath of this event (including giving birth in a rat-infested ruin of a church in the middle of nowhere) was so bad that Isla's mother had had to fly to Scotland to collect her screwed up daughter. But when Isla announces that she's going back to that very same, remote location, the mother -- who has never uttered a word about what really happened in Scotland to her daughter -- seems to offer no more objection than, "Is that really a good idea?" Seriously? Isla took months to recover and was so traumatised by her experience that she can't remember a thing about it but her mother lets her go back there, completely ignorant, without raising any major objections? Or telling her the truth? Although I guess if the mother had sat Isla down with a cup of tea and said, "Look, I have something to tell you..." there would have been no story.
Having traveled half way around the world and being stuck in a remote area of northern Scotland Isla meet a guy she once dated briefly, a fellow Australian. Of course she can't remember him and he's mighty ticked off that she dumped him (according to his version of events). How coincidental is that? But it's the author's way of obliquely hinting that perhaps Isla has been here before. Which I would have thought a quick look through her passport could have confirmed, since presumably as a foreigner with a student visa she would have needed to have had it stamped?
Then there are the two women in the village (Camille and Jessica) who are separately having a relationship - sexual or "just friends" - with the pedophile. Sadly, women's intuition seems to have failed them on this occasion as neither seem to realize that he likes little girls, including both of their daughters. But Taylor only gives up that Hamish, the 20-something brother, could be the perp since he "mistakenly" dated a 15-year old girl. Peyton is barely mentioned in the story, other than being described as good-looking, so we are given no sense of motivation for his actions or how he managed to keep his sickness under wraps from his family.
As for the ridiculousness of the pregnancy plot? Here's how I see it: An estranged husband (Alban) meets Isla in a city nightclub, not knowing that she's the woman his wife has paid thirty grand to be a surrogate and is secretly using his sperm to impregnate. I may have missed this bit - to be honest, I listened (on Audible) to much of this before bed and fell asleep in parts -- but if Jessica was having sex with Alban in order to have another child, wouldn't it have been simpler to put needle holes in his condoms rather than fake a pregancy with a prosthetic? As if having another baby when your marriage is all but over is ever a good way to stay together! Oh, and I don't know if the author is a mother herself, but in my experience carrying a child has many more physical signs that a swollen belly. So how come Jessica was able to pull off the fake pregnancy in such a small village when her ankles weren't swollen or her face fatter? Why didn't isla or her mother figure out she'd had a baby in Scotland when presumably she must have been lactating after giving birth to Rhiannon (sp)?
I could go on and on but I think you get my drift. As other reviewers have pointed out, this novel is just so bizarre and convoluted that I'm amazed it has garnered as many five stars as it has. But each to his/her own.
For my part I thought this was both a boring and preposterous story that's overwritten in parts ("tears glistened wetly on her face"). Maybe you'll enjoy it. I thought it was dreadful.