Michelle Cameron’s name is associated with the most abhorrent of crimes. A child who lured a younger child away from her parents and to her death, she is known as the black girl who murdered a little white girl; evil incarnate according to the media. As the book opens, she has done her time, and has been released as a young woman with a new identity to start her life again.

When another shocking death occurs, Michelle is the first in the frame. Brought into the police station to answer questions around a suspicious death, it is only a matter of time until the press find out who she is now and where she lives and set about destroying her all over again.

Natalie Tyler is the officer brought in to investigate the murder. A black detective constable, she has been ostracised from her family and often feels she is in the wrong job. But when she meets Michelle, she feels a complicated need to protect her, whatever she might have done.

Jacqueline Roy’s The Gosling Girl is a psychological thriller that explores the after-effects of a crime committed in childhood, and how hard it can be to reintegrate back into society. Additionally, the novel tackles systemic, institutional and internalised racism and how one’s story can be controlled by those around them.

We meet Michelle after she’s been released from prison. She’s known for killing a young girl when she was also just a child, and she’s served her time for the criminal act. But now that she’s out, attempting to find work, lay down roots, and form some sort of life with anonymity, she’s realising that others aren’t going to let her forget what she did anytime soon — there’s her probation officer, who she’s required to see on a regular basis, there’s the media, who are reluctant to leave her out of the press, and there’s writer Zoe, who is so desperate to pen Michelle’s story, she just might blackmail her to get it done.

“Of course she would, even though she knows she’s being bribed, paid for her memories in cake. She’s told to help herself. She chooses a macaroon and a slice of Swiss roll, not the kind you buy at supermarkets, the kind that has real cream and homemade jam.”

Written in third person, Jacqueline does well to craft an unreliable narrator in Michelle — she hides more from us than she reveals, and the only time we really feel like we understand her history or her emotions is when she’s in a session with Zoe for the book.

And on that note, I found Zoe to be the most interesting character in the novel. The cagey, slightly odd writer who wants to pen a book about Michelle’s side of the story. She’s questionable the entire way through, and to be honest I was expecting something major to happen with Zoe’s character — a big revelation, or a significant betrayal of Michelle. But everything that happened felt a little lacklustre. To be honest, I’m not sure I ever grasped Zoe’s desperation for doing the book — she acted like she was on a timer, and the book had to be done as quickly as possible. Why? Why is Zoe so chaotic in her home life, and why does she seem to be so financially strapped? There were definitely a few missing elements to her character that I hoped would be fleshed out some more.

“Tyler lets herself out and walks down to the car. She realizes she’s been holding her breath since leaving the house, keeping herself reined in. She leans against the side of the vehicle, trying to stay calm. She pictures Julie gouging pieces out of herself because the physical pain is so much easier to bear than the loneliness of grief.”

Despite devouring this novel in a short span of time, there were elements of the novel I’m still working to process. Michelle’s characterisation felt flat and underdeveloped to me, like the writer was trying to keep her so unreliable and withdrawn that she actually felt too thin on the page. Is she a violent person? Capable of change? I don’t even know, because the original crime isn’t ever really tackled and Michelle seems quite placid for most of the novel.

The second crime that is hinted in the blurb resolves itself rather quickly, and Michelle isn’t even a suspect for long. In fact, she’s never a suspect. She’s merely questioned. So I never felt that concern or worry for Michelle because I know that her past conviction wasn’t going to mean a false conviction this time around (which is what I suspected after reading the blurb).

“It makes a change, having someone to be with on a day when she isn’t at work. She can’t believe her luck, bumping into Lucy after all this time.”

Recommended for fans of psychological thrillers. Readership skews female, 25+

Thank you to the publisher for mailing me a review copy in exchange for an honest review.

The Gosling Girl
Jacqueline Roy
February 2022
Simon & Schuster Book Publishers

Ansel Packer is scheduled to die in twelve hours.

He knows what he’s done, and now awaits the same fate he forced on those girls, years ago. Ansel doesn’t want to die; he wants to be celebrated, understood.

But this is not his story.

As the clock ticks down, three women uncover the history of a tragedy and the long shadow it casts. Lavender, Ansel’s mother, is a seventeen-year-old girl pushed to desperation. Hazel, twin sister to his wife, is forced to watch helplessly as the relationship threatens to devour them all. And Saffy, the detective hot on his trail, is devoted to bringing bad men to justice but struggling to see her own life clearly.

This is the story of the women left behind.

Blending breathtaking suspense with astonishing empathy, Notes On An Execution presents a chilling portrait of womanhood as it unravels the familiar narrative of the American serial killer, interrogating our cultural obsession with crime stories, and asking readers to consider the false promise of looking for meaning in the minds of violent men.

Danya Kukafka’s Notes On An Execution offers a reprieve from the stereotypical ‘serial killer’ novel. We meet Ansel Packer in a Texan prison on the day he is scheduled to be executed for murdering multiple women. There is no doubt that he’s the murderer — he’s confessed to it, he acknowledges it. But who did he hurt and how did events unfold?

To fully understand this, we meet three women whose lives interacted with Ansel’s at titular moments in his life. The story toggles between multiple storylines, traversing different points of view and moving between the past and the present. As someone who devours serial killer stories, I found this book to be an incredible read.

“That night, Lavender slept sitting up in the storage room, an iron paper towel rod clutched in her hand like a gun. She found it when she reached for her sweater — a cold lump in the breast pocket. It was the locket she’d given to Ansel, curled up regretful. She’d unclasped it from his neck the last time she’d given him a bath and pocketed it thoughtlessly.”

Danya’s writing is beautiful —poetic and addictive. Her characterisation is skilled and flawless. It’s rare for me to give such glowing praise for a novel but I really did love this one (I completed it in half a day, I was so desperate to finish).

We are driven forward by Ansel’s inevitable death — the countdown to his execution. These other stories, offered intermittently and almost chaotically, are a glimpse into the past.

The three women we meet in this novel are Lavender, Ansel’s mother, Hazel, the sister to Ansel’s wife, and Saffy, the detective who lived with Ansel in foster care and is now tasked with proving he’s responsible for the murders. Each shift in POV isn’t for very long, and we move through the past with quick pacing and little time to reflect. This novel is designed to paint a portrait of Ansel’s life to dates so that we might come to understand his rocky descent into murder.

“If there was a before, it began with Lavender. She was seventeen years old. She knew what it meant, to bring life into the world. The gravity. She knew that love could swaddle you tight, and also bruise. But until the time came, Lavender did not understand what it meant to walk away from a thing she’d grown from her own insides.”

Ansel’s chapters are written in second person — the confronting ‘you’ triggering a sense of dread and unease as the reader settles into Ansel’s story. Whilst we never feel like we understand him or his actions, his life and his story is the centrefold of this tale — everything else merely revolves around him as we are propelled towards his death.

Overall, the pacing and character development drew me in and kept my engaged throughout the entire novel. i did find the climax of the novel to be a little skimmed over — Ansel’s sudden deterioration into the final murder didn’t feel natural or realisitc. But when it comes to murder, and even multiple murders, a person’s actions don’t always make sense do they?

“Here is what you remember of your mother. She is tall, and she is mostly hair. She crouches in a garden, lazes in a rocking chair, sinks into a rusty claw-foot tub. Sometimes the tub is filled with water and your mother’s long dress floats wet like a jellyfish. Other times she is dry — she holds out a strand of her own hair, a gift, glistening orange.”

Haunting and ambitious but addictive, Danya Kukafka ’s Notes On An Execution is recommended for readers of literary fiction, thriller and crime fiction. Additionally, readers looking for serial killer stories or female-centric writing will enjoy this. Readership skews 25+

Thank you to the publisher for mailing me a review copy in exchange for an honest review.

Notes On An Execution
Danya Kukafka
January 2022
Hachette Book Publishers