One fateful night with two damaged individuals that derails a woman’s life with some very surprising results.
When Don’t You Cry opened and got off to a slow start which failed to inspire I thought the novel would be a repeat of my experience with In A Cottage In A Wood in which Cass Green had another cracking premise and failed to take it anywhere. Thankfully though Don’t You Cry did eventually find its focus and with a suspension of disbelief the story holds the readers attention despite some so-so characterisation and unlikely twists to become steadily more engrossing.
Forty-five-year-old mother of one and comprehensive school English teacher Nina Bailey is floundering with her husband of over fifteen years, Ian, having moved out from the family home and into a new relationship with his ten years younger new partner, Laura. When her twelve-year-old son, Sam, is whisked off for two weeks in Provence at Laura’s parents place Nina is faced with the prospect of a fortnight rattling around the house alone with only a blind date set up by a colleague on the horizon. But when her aforementioned blind date turns awkward only a choking debacle and the Heimlich manoeuvre of a quick thinking waitress by the name of Angel buys her an early escape to return to her fairly remote residence on the outskirts of Redholt and a night of drowning her sorrows alone with a bottle wine. If Nina’s night started badly it soon gets far worse when waitress, Angel Munro, turns up at her door brandishing a gun. As Angel waltzes in clearly on edge and makes herself at home she soon welcomes her wide eyed and wired younger brother, Lucas, clad in filthy and bloodied clothes with a six-week-old baby Zach under his coat. As Nina picks up snatches of her captors conversations and a partial radio news broadcast a suspicion that Lucas has murdered the baby’s mother and kidnapped a child starts to crystallise. Just who and what has Nina let into her home?
As she slowly gains a grasp of the circumstances her objective turns to protecting baby, Zach, and as she plays Angel and Lucas at their own game the balance of power gradually shifts slowly in her favour. However the longer Nina is in their company the more she is able to elicit from vulnerable Lucas and prickly Angel, whose clear priority is in protecting her sensitive little brother, and a picture forms of Lucas as less of an aggressor and more of a weak young man driven demented by the continuing memories of his past and the turmoil caused by a well respected public figure. As background information on each of the characters is slowly revealed it includes flashbacks to the early memories of Lucas and Angel’s attempts to protect her brother over the years and hence her spiky outward demeanour becomes more understandable as the identity of the villain at the centre of the story shifts. Lucas never quite fits the characteristics of a genuinely menacing baddie from the off as he goes from unhinged and rash to visibly distraught and demonstrating a semblance of kindness and warmth towards baby Zach. Angel however is far more unreadable and a typical loose cannon character which serves to introduce a nervous tension into the unfolding story but as the story takes several unforeseen turns it feels like neither one of the trio holds their own destiny firmly in their own hands. Told from the perspective of the three lead protagonists with a revolving focus keeping the story in motion that of heroine, Nina, is told in the first-person and Angel and Lucas both in the third-person. This subtle difference serves to draw the reader into Nina’s surreal predicament and as the tale moves into more substantial territory and hones in on the childhood memories of Angel and Lucas and the suicide of their mother, Marianne, her angst for the pair holding her hostage feels all too believable.
Even when the hostile situation is resolved all three of the key players struggle to move on with Nina living a listless half-life and missing Sam who is still away in Provence, a distressed Lucas who is remanded and placed on suicide watch and bailed Angel’s frustration at her inability to instil some fight into her brother and ensure he is not eaten up alive by the miserable existence of prison on a fragile mind. As Don’t You Cry sees Nina eventually move on from her selfless caring for Zach on that night she is filled with an urge to discover the truth for the motivators behind Lucas’s actions and she becomes less concerned with ensuring their are punished for her nightmare evening and more towards ensuring Lucas and Angel get justice for their mother. When her early investigative work offers hope she wades into the mire and aside from making some abominably stupid decisions along the way she makes for a sympathetic protagonist with genuine compassion. Whilst it is genuinely easy to empathise and feel for Lucas it is perhaps the slowly thawing and prickly Angel whose characterisation shines and makes her so very realistic.
After a slow start and a far-fetched hostage situation the story only really captured my attention in the aftermath of that night as the fallout proved far more engrossing and worthwhile reading than the actual episode. A sub-plot of Nina’s worry for Sam and and ensuring he learns nothing of her horror experience verges on becoming tiresome but with husband, Ian, concerned and turning up to check on his estranged wife the relationship and understanding between the separated couple moves to more harmonious territory. Short chapters with a focus on underlying emotions as opposed to much fully charged action makes for an easy read that canters along at a brisk pace carrying readers through to the outcome and what happens next in the lives of a trio of unlikely alliances. As two damaged people trying to do the right thing enter Nina’s world she finds the boundaries of black and white become far more indistinct the firm conviction of the police that Lucas is guilty of a ruthless murderer forces Nina to act.
Nevertheless with the happy ending a given and in distant sight I found the story did drag with Nina overly earnest and her game plan achieved rather simplistically. However, Don’t You Cry is far more entertaining than Cass Green’s previous novel, In A Cottage In A Wood, with the shifting balance of power when Nina is held hostage to her own intrepid attempts to ascertain the real truth behind that night introducing a frisson of genuine tension into proceedings. All in all an interesting exploration of the effects of domestic abuse and the fallout from one fateful night that changes so many lives profoundly. A life-affirming story indeed but the oversimplification makes it all feel a little frothy and not completely satisfying from a crime fiction perspective.