The Woman in the Window answers the question you didn’t ask about what happens when you take every single Hitchcockian, GoneGirlian, thriller, red herring – laden trope in the arsenal and throw them all into one book with no fear of cliché. I am happy to tell you that what happens is a damn delight. I was a little wary of this one – it is one thing to have a Rear Window situation in your story but it is an entirely different thing to have your protagonist actually watching Rear Window in said story. That is some next level meta stuff and I am HERE FOR IT.
Dr. Anna Fox is … not having a great year. She has not left her home in over ten months, after a traumatic event caused her to develop agoraphobia, a condition I often think I have, but definitely do not because I still go to Target. She spends her time playing online chess, talking to her estranged husband and young daughter over Skype, counseling other agoraphobics in an online support group and generally believing that the “don’t use alcohol while taking this drug” warning on the bottle is a suggestion (SAME). She watches old movies, almost all mysteries and thrillers, which categorically do not help her anxiety issues at all (SAME).
Anna also spends time looking out her window with her camera, watching the comings and goings of her neighbors because she is bored but also super nosey (SAA… you get it). When new neighbors move in, she becomes instantly attracted to them until she witnesses something terrifying. Chaos ensues and our unreliable narrator becomes downright erratic and the unraveling is scary, suspenseful and truly fun. I would say that I figured out about 40% of the twisty plot turns, and the rest just came at me. I don’t know how A. J. Finn pulled this off, but he really did.
The Woman in the Window – Grade A-