We Know Paperback – Aug 26 2008
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|Paperback, Aug 26 2008||
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For I See You: 'Hurwitz's intelligent, skillfully plotted thriller, with its clever mystery and undercurrent of menace, is a gripping read' Susanna Yager, Sunday Telegraph ** 'A thrilling, mind- bending journey, it is also deeply humane and beautifully written. You'll turn the final page with profound regret.' Dennis Lehane ** 'Crime fans looking for something different will love this one.' Booklist ** 'A performance worthy of applause... ' Kirkus (Starred Review) --This text refers to an alternate Paperback edition.
About the Author
Gregg Hurwitz has written screenplays for film and TV, and reinvented a comic character for Marvel. In the name of research he has swum with sharks and sneaked onto demolition ranges. He now lives in L.A. where he teaches fiction writing and is a keen soccer player. --This text refers to an alternate Paperback edition.
Most Helpful Customer Reviews on Amazon.com (beta)
The book kicks off with a hiss and a roar and the early chapters keep the tension high. However as the plot develops, it all starts to get so far-fetched that I struggled to suspend my belief. There are also some glaring plotholes which severely detracted from the story. For example, the way that Nick was forced onto the run makes little sense, and the fact that he has never told anyone about what happened but suddenly starts confiding in people now when the stakes are higher than they have ever been.
I like the way Hurwitz writes and this is a decent enough holiday thriller, but it pales in comparison to similar writers such as Harlan Coben or Linwood Barclay.
Happy reading! Mark
After that the pace cracks on fast and furious and there is a complicated plot that moves back and forward in time and implicates two presidential candidates in a scandal and cover up from seventeen years previously.
Nick really has a problem trusting anyone and has to live on his wits to get to the truth. The plot has a lot of tension and twists and turns but it really does stretch the imagination at times. For example; it does not seem realistic that Nick, as a teenager is banished from his home and home town by men in dark suits, and told not to speak to anyone about what has happened, and he does just that.
However, despite my criticisms, the writing is good and the characters are interesting but not all likeable, a bit like real life actually. My favourite is Homer, a homeless drunk who is a useful friend of Nick's.
There are a couple of annoying spelling errors, some might be put down to American/English differences e.g. pyjamas/ pajamas, but to confuse `couching' with `coaching' (page 301 paperback) is pretty bad. Proofing, though not always the responsibility of the writer, should at least be accurately done. There are also some strange similes that for me do not paint a picture in context, such as, Framed pictures rising like feathers from the lid (of a piano) is just too obscure.
In the end the book has a satisfactory conclusion with all the ends tied and reconciliations between Nick, his Mother and her new family. I enjoyed the story, the pace and the political content and would have no problem recommending this as a good holiday or weekend read.
Now ten years or so later Nick has returned to his home city but hasn't contacted his mother. He can relate to the homeless on the streets so has landed a pretty good job in an organisation that helps them. However suffering from the same paranoid habits of his step father all this time one night he notices a black rope fall down upon his balcony. Seconds later a SWAT team enter and drag him with them to a nuclear power plant where they say a terrorist is asking for him. The terrorist tells him he is the only one he trusts, well his step father was and since he was his son he's the next best thing but events stop Nick learning more. The aftermath will force in Nick's mind the decision to find out exactly what happened that night which puts himself and those around him in severe danger.
The problem with this story is you don't really feel any empathy or anything else for Nick or the other characters who aren't too realistic and don't really care if he survives or what was behind what happened on the night Frank died. There's no must turn the page factor that the great writers like Harlan Coben, Linwood Barclay, James Siegel, Charlie Huston, Joseph Finder and others have. Plus you've got the why didn't they just kill him instead of going through an elaborate plan of telling him to relocate when he was 17 when they obviously have no hangup with murder line going through your head the whole time you turn the pages.