A Twist of Domesticity: My Thoughts on Alice Feeney’s Good Bad Girl
As an ardent Feeney fangirl, I was more than excited to dive into Good Bad Girl, but my experience was far from what I anticipated. From her earlier works that had me glued to the pages with unyielding suspense and shocking twists, I found myself perplexed by this narrative that felt less like the thrilling rollercoaster I was accustomed to, and more like a complicated maze that I struggled to navigate.
Alice Feeney has always had an extraordinary ability to weave tales that resonate deeply, often catching me off guard with those trademark twists. And while I appreciate her exploration into the complexities of human relationships, Good Bad Girl felt like a departure from the electrifying atmosphere I’ve adored in her previous novels. This time, our journey revolves around four women—Clio, Edith, Patience, and Frankie—each entwined by threads of loss, motherhood, and secrets.
Edith, the vibrant 80-year-old grappling with the loss of a dear friend, offers charm and depth. While her relationship with her daughter, Clio, is strained due to circumstances outside her control, it’s hard not to feel their shared pain. Patience, a caregiver at Edith’s care home, appears to be a lifeline, yet her own past adds layers of intrigue. And then there’s Frankie, the prison librarian longing for reconciliation with her estranged daughter—a sentiment that stirs the heart and captures the essence of motherhood beautifully.
But here’s where my admiration faltered. The narrative, while ambitious, felt jumbled due to the alternating voices and shifts in narrative style—from first to third person—all wrapped within a domestic suspense framework. At times, I found myself disoriented rather than invested, struggling to connect deeply with any of the characters. It felt like I was floating above their experiences rather than diving into their hearts and minds.
One of the highlights of Feeney’s writing has always been her pitch-perfect pacing, yet in Good Bad Girl, I found a certain staleness, as if the stakes lacked the urgency I’d come to crave. The previously reliable formula of red herrings and twists became muddled and convoluted. While I appreciated a couple of unexpected moments, I never felt that exhilarating “aha” moment that leaves you breathless. And just when I thought I had it figured out, I was left with mild curiosity instead of nail-biting anticipation.
Beyond the tangled plot, however, the themes of motherhood and the complex relationships between mothers and daughters shine through, evoking a sense of empathy and reflection. The potential was palpable, but I yearned for a deeper emotional connection to resonate with my own experiences, which ultimately felt absent.
So who might enjoy Good Bad Girl? While it may not satisfy those seeking the suspenseful thrill of Feeney’s earlier works, readers interested in character-driven narratives with themes of familial bonds may find it engaging. It’s a departure, a foray into a territory that—while it may not resonate with everyone—shows Feeney’s versatility as a storyteller.
As I look forward to her next release, Beautiful Ugly, I’m reminded that even our favorite authors can take us on unexpected journeys. Though I closed this book feeling a bit uneven, my love for Feeney burns brighter, and I can’t wait to see where her storytelling will lead next.
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