![]() ![]() Wrexham from her cell in HMP Charnworth after being convicted of killing one of her former employers’ children. Ware’s Key opens with Rowan writing to barrister Mr. As it stands, narrator Rowan Caine is what you’d get if Bridget Jones was trapped in a horror-gothic-thriller, which made her a heck of a lot more likeable than the anonymous prig James created. Had the first-person narrator/voice been anything like James’s governess, I would’ve DNF-ed. In The Turn of the Key, I got a fairly satisfying hybrid between atmospheric James and contemporary feminist gothic. Westaway that I wanted to try one of her books. ![]() But I’d heard and read reviewers and Twitter friends praise Ware’s The Woman In Cabin 10 and The Death of Mrs. I like my gothic with a good streak of romance, like Jane Eyre, and female protagonists with a brain in their head, like Jane, like Stewart’s, Kearsley’s, and St. I hate James’s twisted, labyrinthine sentences, his dunce of a narrator, and the creepy setting. I side-eyed Ruth Ware’s The Turn of the Key because it nods at James’s “The Turn of the Screw,” one classic I’ve abhorred since I had the misfortune to read it in a 19th century lit class. ![]()
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