‘It’s going to be a classic he said/she said, textbook case decision by jury. Half the female jurors are already in love with him.’
Kit is an eclipse chaser. Not long after he meets and falls in love with Laura, he convinces her to go to Lizard Point in Cornwall to watch the 1999 eclipse. While they are there, Laura stumbles across what looks like a rape. The young woman doesn’t speak but the man tells Laura, ‘You’ve got the wrong end of the stick’. Laura doesn’t think so and phones the police. This takes place 16 years before the novel begins.
In London, 2015, Laura is pregnant with twins, the product of three rounds of IVF. It means that she won’t be travelling to see the eclipse but Kit, who she’s now married to, is heading off to the Faroes. We learn early in the novel that something terrible has happened in relation to Beth, the woman who was raped.
Beth has crossed the world to find us twice. We are only visible when we travel. A couple of years ago, I hired a private detective and challenged him to find us using only the paper trail of our previous lives. He couldn’t trace us. And if he couldn’t do it, then no one can.
The story unfolds across the two time periods and, in the 2015 section, via two narrators – Laura and Kit. It’s no mean feat to plot a book across time periods and narrators but Kelly guides the reader smoothly between sections. She uses the different narrators for dramatic irony allowing the reader an insight into a couple of whopping secrets the couple have been keeping from each other.
Thematically the novel explores female friendship and marriage but these are largely considered through the lens of the rape and its aftermath. The perpetrator, Jamie Balcombe, is ‘public school, lovely-looking boy. His dad’s a big cheese, CEO of a FTSE 100, was in the same year as Prince Charles at Gordonstoun’. I can’t be the only reader to be reminded of the Brock Turner case as Balcombe relays the way in which his prospects at a big architectural firm have been damaged by the accusation. Kelly treads a fine line in terms of the way she presents events and how she uses them to serve the plot, exploiting the doubt that society sows around female victims. It’s difficult to say much more without ruining any of the plot but I was satisfied with the outcomes Kelly presents.
I don’t read a lot of psychological thrillers but when I do pick one up, I want to be taken by the hand and guided, via some flawless writing, up entirely the wrong path. While I’m eagerly looking for the foreshadowing, I want to be so wrong that the twists are shocking while still making perfect sense. I’m a demanding reader but with He Said/She Said, Kelly pulls this off with aplomb.
In a recent blog post, Kelly stated:
I’ve said before that Barbara Vine, Daphne du Maurier, Patricia Highsmith hugely inspired my work and they still do, but I don’t consciously measure myself against them like I did in the beginning. Anxiety of influence has been something I have gradually shrugged off over six books. This, at last, is all mine.
If this is book is all Erin Kelly then Erin Kelly has a new fan who’s keen for more. He Said/She Said is a gripping, satisfying, intelligent read.
If you want to check out the opening for yourself, He Said/She Said is this week’s Bedtime Bookclub pick on The Pool.
Thanks to Hodder & Stoughton for the review copy.