Tell Me Something Good: A Haunting Journey Through Secrets and Trauma
When I first picked up Tell Me Something Good by Court Stevens, I was enticed by the promising intertwining of a gripping crime narrative with the delicate exploration of human relationships. As Stevens transitions from young adult fiction to adult literary crime, I found myself eager to see how this shift would manifest in her storytelling. What I discovered was a poignant and atmospheric tale that explores the shadows of violence seeping through generations in the rural American South.
At its heart is Anna Ryder, a thirty-something woman grappling with poverty and desperation, as she takes a job at the prestigious Lodges hunting resort to fund her mother’s cancer treatment. This setup alone is ripe with tension, but Stevens elevates the story by threading in the unsolved murders of nine women known as the Choir Girls. The duality of Anna’s journey — both in her personal battles and the larger, haunting history of her community — speaks to the rippling effects of violence that linger long after the act itself. I couldn’t help but feel a deep empathy for Anna, caught between her circumstances and the ghosts of a tragic past.
Stevens’ skill in managing multiple timelines and perspectives shines throughout the narrative. I was particularly drawn to the way she navigates three days of escalating tension, interspersed with flashbacks that reveal the relationships and traumas that have shaped these characters. The reunion of Anna with her ex-fiancé, Jack Higgins, adds an emotionally charged layer to the plot, riddled with unresolved tension and buried secrets. Their chemistry is palpable, and it compels readers to see how past decisions can echo painfully through present-day lives.
The novel thrives on its complex relationships, particularly between Anna and Foster Portage, two women whose childhood traumas intertwine their destinies. The portrayal of how trauma can shape identity and relationships was executed with remarkable sensitivity and depth, resonating long after I turned the final page.
However, as much as I admired Stevens’ evocative writing, I did find some plot elements that teetered on the edge of believability. The web of hidden parentage felt somewhat contrived, yet Stevens navigated these revelations in an emotionally satisfying way. Additionally, while I appreciated the ambitious scope of the narrative, certain subplots, like the federal investigation, felt underdeveloped. It’s a testament to her ability that I remained engrossed, regardless.
Visually, I was enveloped in the rich and haunting Southern Gothic atmosphere Stevens creates. The Ohio River becomes more than just a setting; it’s a metaphorical boundary between truths and lies. The moment Anna discovers a blood-soaked boat hidden in her family barn was particularly striking, blending visceral horror with emotional revelation.
In conclusion, Tell Me Something Good is an impressive debut that will resonate especially with readers who enjoy layered stories that challenge moral certitudes. Stevens has crafted a narrative that lingers, sparking conversation about the long-reaching consequences of familial secrets and the insidious nature of violence. If you’re looking for a crime novel that marries thrills with emotional richness, I wholeheartedly recommend this book. It’s an experience that invites reflection, and it left a lasting impression on me, one I believe many readers will cherish.