. . . Oh my lord this book was awful. I mean, seriously. What in the name of the Flying Spaghetti Monster did I just read?
Before I go any further, I’d like to briefly explain how I fell into the terrible graces of this travesty of a book. I was at a small shop while vacationing in Montauk two years ago when I came across
The Perfect Witness
at the back of the store. Now I have a little “test” to see whether I’m going to buy a book or not.
Step 1: Read the blurb. If it’s intriguing, read the first page.
Step 2: If the writing is engaging enough to read past the first page, buy the book.
Step 3: Have happy fun times . . .?
Since the idea for this book piqued my interest, I went and bought it. Of course, there have been times when I’ve been met with disappointment.
The Perfect Witness
just so happened to fall flat on its face. As a matter of fact, there are so many things that could’ve gone wrong with this book . . . and - surprise! - they went wrong. For starters, the exchange between Teresa/Allie and Mandak in Chapter 1 is basically a giant block of exposition. What makes it even worse is that the exposition happens through the dialogue. Allie’s entire backstory is told through several paragraphs of dialogue when it could have easily been shown in flashbacks. And it was at that moment that I realized: “This is gonna be one of those books, isn’t it?”
On the topic of the dialogue,
The Perfect Witness
has hands down the worst dialogue I’ve ever seen. It literally made me want to go out to my backyard and scream until my throat was raw. Fortunately for my neighbors, I didn’t do that. But in case you want a sample of just how appallingly bad this dialogue I speak of is, here’s a few that I’ve unearthed from the fiery pits themselves.
Keep in mind, the following quotations are samples of actual dialogue. Read on at the expense of your brain cells.
Page 2: “We were just sent to bring you back. You know me. I’ve watched you grow up. I was at your sixteenth birthday party last month.”
Page 13: “You were sent away to boarding school from the time you were six. You didn’t seem to mind. You did extraordinarily well at school. You’re exceptionally bright, and from very early on, the teachers found out that you had a special talent. You have a photographic memory.”
Page 52: “It’s been four hours and I was getting a little worried. Though I thought it was probably a mental effort to get away from me that was causing it.”
Page 98: “I didn’t do anything that would embarrass you or Natalie. I wrote what Simpson wanted me to write. But do you know that history professor is fake and an idiot?”
Page 99: “Why shouldn’t I, with a tiger like you to defend me? I was just wondering if my stomach was going to tolerate that hot sauce at your favorite Mexican restaurant. I decided that I’ll survive. Go get Natalie.”
Page 169: “‘I’ll do it,’ she said curtly. ‘But you were too vague about what you were offering me in return. I’m going to spell out exactly the terms you have to offer me.’”
Page 231: “You’re sitting there so straight, you look as if you have a poker in your back. You’re exhausted. You’re torn apart.”
Page 233: “Now you’re going to lie here and pretend today was a bad memory you have to block.”
Page 332: “Now stop yelling at me. I’m feeling pretty raw and hurting. I need a little time to pull myself together and start thinking. I was just acting on instinct when I was talking to my mother.”
And that’s only scraping the surface. Everything that could have been explained through the prose itself is instead explained through the dialogue, making this book unbelievably irritating. And as you can probably tell, this book pretty much breaks the golden rule of writing: “Show, don’t tell”. For the record, the author seems to have a fondness for reusing certain words to oblivion. This is fine in moderation, but do the world a favor and mix things up a bit.
Moving on, pretty much all of the characters come off as one-dimensional and a good chunk of them may as well be flatter than cardboard. To make things worse, there is absolutely no difference in the way they talk; they all speak in an annoyingly monotonous way and it’s very easy to mistake one character’s dialogue for another. On the other hand, it’s practically impossible to get attached to any of the characters. Characters that could’ve been fleshed out are killed off before they get the chance. The ones that do make it remain straight up unlikable. Character motivations are also black and white in terms of morality; for example, the antagonists of this book do the things they do because . . . potatoes, I guess.
I don’t know. I just like potatoes. Point is, the characters pretty much do what they do just for the sake of being good/evil. Yawn fest. The only two characters in this book with any semblance of depth are Allie’s mom and maybe Mandak. Maybe. I’m just throwing darts randomly at this point.
Back to the writing, the pacing of this book is atrocious. After the end of Chapter 4, we get a sudden seven-year time skip that, while it works to an extent, is just a bit out of place. By the time I reached the halfway point, I knew for a fact that this could’ve easily been a duology or something. There was just so much stuff crammed into this 359-page book that I felt one book alone wasn’t enough to accommodate it. There’s also the fact that this book tries to be way too many things at once. It starts out with the setup for a psychological thriller, but halfway through it suddenly transitions to something you’d probably see out of a James Bond movie or perhaps a stereotypical action flick. There’s even a chase scene a little after the halfway point and stuff involving missiles. For the love of God, pick one genre and stick to it.
So are there any positives to this book (besides the fact that I somehow managed to survive)? Actually, yes. Kind of. While the ending was underwhelming, the last big scene ended with somewhat of a bang. There were also some passages that were engaging but, unfortunately, those were few and far between. I think the only reason I managed to survive this monstrosity was that I’ve already DNF’d three books this year and I really didn’t want to DNF a fourth. There’s something about DNFing too many books in a certain amount of time that really throws me off. Even then, I had a terrible feeling that this book was going to be awful, which is a shame because some of the author’s other books have gotten 4-star ratings on GR.
So . . . am I missing something? Anything?
. . . Why am I even asking this? I’m not even gonna read another one of her books anyway.
VERDICT: 0/10