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The Girl on the Train, by Paula Hawkins
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The #1 New York Times Bestseller, USA Today Book of the Year, now a major motion picture starring Emily Blunt.
The debut psychological thriller that will forever change the way you look at other people's lives.
“Nothing is more addicting than The Girl on the Train.”—Vanity Fair
“The Girl on the Train has more fun with unreliable narration than any chiller since Gone Girl. . . . [It] is liable to draw a large, bedazzled readership.”—The New York Times
“Marries movie noir with novelistic trickery. . . hang on tight. You'll be surprised by what horrors lurk around the bend.”—USA Today
“Like its train, the story blasts through the stagnation of these lives in suburban London and the reader cannot help but turn pages.”—The Boston Globe
“Gone Girl fans will devour this psychological thriller.”—People
EVERY DAY THE SAME
Rachel takes the same commuter train every morning and night. Every day she rattles down the track, flashes past a stretch of cozy suburban homes, and stops at the signal that allows her to daily watch the same couple breakfasting on their deck. She’s even started to feel like she knows them. Jess and Jason, she calls them. Their life—as she sees it—is perfect. Not unlike the life she recently lost.
UNTIL TODAY
And then she sees something shocking. It’s only a minute until the train moves on, but it’s enough. Now everything’s changed. Unable to keep it to herself, Rachel goes to the police. But is she really as unreliable as they say? Soon she is deeply entangled not only in the investigation but in the lives of everyone involved. Has she done more harm than good?
- Sales Rank: #61 in Books
- Brand: Riverhead Books
- Published on: 2016-07-12
- Released on: 2016-07-12
- Original language: English
- Number of items: 1
- Dimensions: 7.99" h x .91" w x 5.16" l, .68 pounds
- Binding: Paperback
- 336 pages
- The Girl on the Train: A Novel
Amazon.com Review
An Amazon Best Book of the Month, January 2015: Intersecting, overlapping, not-quite-what-they-seem lives. Jealousies and betrayals and wounded hearts. A haunting unease that clutches and won’t let go. All this and more helps propel Paula Hawkins’s addictive debut into a new stratum of the psychological thriller genre. At times, I couldn’t help but think: Hitchcockian. From the opening line, the reader knows what they’re in for: “She’s buried beneath a silver birch tree, down towards the old train tracks…” But Hawkins teases out the mystery with a veteran’s finesse. The “girl on the train” is Rachel, who commutes into London and back each day, rolling past the backyard of a happy-looking couple she names Jess and Jason. Then one day Rachel sees “Jess” kissing another man. The day after that, Jess goes missing. The story is told from three character’s not-to-be-trusted perspectives: Rachel, who mourns the loss of her former life with the help of canned gin and tonics; Megan (aka Jess); and Anna, Rachel’s ex-husband’s wife, who happens to be Jess/Megan’s neighbor. Rachel’s voyeuristic yearning for the seemingly idyllic life of Jess and Jason lures her closer and closer to the investigation into Jess/Megan’s disappearance, and closer to a deeper understanding of who she really is. And who she isn’t. This is a book to be devoured. -Neal Thompson
Review
“The Girl on the Train has more fun with unreliable narration than any chiller since Gone Girl. . . . The Girl on the Train is liable to draw a large, bedazzled readership too. . . . The Girl on the Train is full of back-stabbing, none of it literal.”—Janet Maslin, The New York Times
“The Girl on the Train marries movie noir with novelistic trickery. . . hang on tight. You'll be surprised by what horrors lurk around the bend.”—USA Today
“Like its train, the story blasts through the stagnation of these lives in suburban London and the reader cannot help but turn pages. . . . The welcome echoes ofRear Window throughout the story and its propulsive narrative make The Girl on the Train an absorbing read.”—The Boston Globe
“[The Girl on the Train] pulls off a thriller's toughest trick: carefully assembling everything we think we know, until it reveals the one thing we didn't see coming."—Entertainment Weekly
“Gone Girl fans will devour this psychological thriller. . . . Hawkins’s debut ends with a twist that no one—least of all its victims—could have seen coming.”—People
“Given the number of titles that are declared to be 'the next' of a bestseller . . . book fans have every right to be wary. But Paula Hawkins’ novel The Girl on the Train just might have earned the title of 'the next Gone Girl.”—Christian Science Monitor
“Hawkins’s taut story roars along at the pace of, well, a high-speed train. …Hawkins delivers a smart, searing thriller that offers readers a 360-degree view of lust, love, marriage and divorce.”—Good Housekeeping
“There’s nothing like a possible murder to take the humdrum out of your daily commute.”—Cosmopolitan
"Paula Hawkins has come up with an ingenious slant on the currently fashionable amnesia thriller. . . . Hawkins juggles perspectives and timescales with great skill, and considerable suspense builds up along with empathy for an unusual central character."—The Guardian
“Paula Hawkins deftly imbues her debut psychological thriller with inventive twists and a shocking denouement. … Hawkins delivers an original debut that keeps the exciting momentum of The Girl on the Train going until the last page.”—Denver Post
“The Girl on the Train, Hawkins’s first thriller, is well-written and ingeniously constructed.” – The Washington Post
“The novel is at its best in the moment of maximum confusion, when neither the reader nor the narrators know what is occurring” – The Financial Times
“This fresh take on Hitchcock’s Rear Window is getting raves and will likely be one of the biggest debuts of the year.”—Omaha World-Herald
“Hawkins’s tale of love, regret, violence and forgetting is an engrossing psychological thriller with plenty of surprises. . . . The novel gets harder and harder to put down as the story screeches toward its unexpected ending.”—Minneapolis Star Tribune
“A gripping, down-the-rabbit-hole thriller.”—Entertainment Weekly Hotlist
“The Thriller So Engrossing, You'll Pray for Snow: Send in the blizzards, because nothing as mundane as work, school or walking the dog should distract you from this debut thriller. A natural fit for fans of Gone Girl-style unreliable narrators and twisty, fast-moving plots, The Girl on the Train will have you racing through the pages."—Oprah.com
“It's difficult to say too much more about the plot of The Girl on the Train; like all thrillers, it's best for readers to dive in spoiler-free. This is a debut novel—Hawkins is a journalist by training—but it doesn't read like the work of someone new to suspense. The novel is perfectly paced, from its arresting beginning to its twist ending; it's not an easy book to put down. . . . . What really makes The Girl on the Train such a gripping novel is Hawkins' remarkable understanding of the limits of human knowledge, and the degree to which memory and imagination can become confused.”—NPR.org
“[L]ike Gone Girl, Hawkins's book is a highly addictive novel about a lonely divorcee who gets caught up in the disappearance of a woman whom she had been surreptitiously watching. And beyond the Gone Girl comparisons, this book has legs of its own.”—GQ.com
“Paula Hawkins’ thriller is a shocking ride.” –US Weekly
“An ex-wife indulges her voyeuristic tendencies in Paula Hawkins’s film-ready The Girl on the Train. In the post-Gone Girl era, crimes of love aren’t determined by body counts or broken hearts, but by who controls the story line.” –Vogue
“The Girl on the Train [is] a harrowing new suspense novel…a complex and thoroughly chilling psychological thriller… The Girl on the Train is one of those books where you can’t wait — yet almost can’t bear — to turn the page. It’s a stunning novel of dread.” –New York Daily News
“The Girl on the Train by Paula Hawkins is a psychologically gripping debut that delivers.” –The Missourian
“The Girl on the Train is the kind of slippery, thrilling read that only comes around every few years (see Gone Girl).” –BookPage
“Hawkins, a former journalist, is a witty, sharp writer with a gift for creating complex female characters.” –Cleveland Plain Dealer
“The Girl on the Train is as tautly constructed as Gone Girl or A.S.A. Harrison'sThe Silent Wife, and has something more: a main character who is all screwed up but sympathetic nonetheless. Broken, but dear. . . . No matter how well it's written, a suspense novel can fall apart in the last pages, with an overly contrived or unbelievable ending. Here, The Girl on the Train shines, with its mystery resolved by a left-field plot twist that works, followed, surprisingly, by what you might call a happy ending.”—Newsday
“I’m calling it now: The Girl on the Train is the next Gone Girl. Paula Hawkins’s highly anticipated debut novel is a dark, gripping thriller with the shocking ending you crave in a noir-ish mystery.” –Bustle
“Rachel takes the same train into London every day, daydreaming about the lives of the occupants in the homes she passes. But when she sees something unsettling from her window one morning, it sets in motion a chilling series of events that make her question whom she can really trust.”—Woman’s Day
“Hawkins’s debut novel is a tangle of unreliable narrators, but what will have readers talking is her deft handling of twists and turns and her eerily fine-tuned narrative. This is one creepy, dark thriller. . . . The book is smartly paced and delightfully complex. Just when it seems Hawkins is leading us one way, Rachel, Anna, or Megan change the game. Nothing can be taken for granted in The Girl on the Train, not even the account of the girl herself.”—Las Vegas Weekly
"Psychologically astute debut . . . The surprise-packed narratives hurtle toward a stunning climax, horrifying as a train wreck and just as riveting."—Publishers Weekly (starred review)
“[A] chilling, assured debut. . . . Even the most astute readers will be in for a shock as Hawkins slowly unspools the facts, exposing the harsh realities of love and obsession's inescapable links to violence.”—Kirkus (starred review)
“intricate, multilayered psychological suspense debut, from a staggered timeline and three distinct female narrators. Rachel, who is unabashed in her darker instincts, anchors the narrative. Readers will fear, pity, sympathize and root for her, though she's not always understandable or trustworthy. . . . En route to a terrorizing and twisted conclusion, all three women—and the men with whom they share their lives—are forced to dismantle their delusions about others and themselves, their choices and their respective relationships.”—Shelf Awareness
"This month we're gearing up for Paula Hawkins's mystery The Girl on the Train. Its three narrators keep readers guessing as they try to suss out who's behind one character's shocking disappearance. Can you figure out who did it before they do?"—Martha Stewart Living
“What a thriller!”—People Style Watch
“Hawkins keeps the tension ratcheted high in this thoroughly engrossing tale of intersecting strangers and intimate betrayals. Kept me guessing until the very end.”—Lisa Gardner, #1 New York Times–bestselling author of the Detective D. D. Warren series
“I simply could not put it down.”—Tess Gerritsen, New York Times–bestselling author of the Rizzoli and Isles series
“Gripping, enthralling—a top-notch thriller and a compulsive read.”—S. J. Watson,New York Times–bestselling author of Before I Go to Sleep
“Be ready to be spellbound, ready to become as obsessed. . . . The Girl on the Train is the kind of book you’ll want to press into the hands of everyone you know, just so they can share your obsession and you can relive it.”—Laura Kasischke, author of The Raising
“What a group of characters, what a situation, what a book! It’s Alfred Hitchcock for a new generation and a new era.”—Terry Hayes, author of I Am Pilgrim
“Artfully crafted and utterly riveting. The Girl on the Train’s clever structure and expert pacing will keep you perched on the edge of your seat, but it’s Hawkins’s deft, empathetic characterization that will leave you pondering this harrowing, thought-provoking story about the power of memory and the danger of envy.”—Kimberly McCreight, New York Times–bestselling author of Reconstructing Amelia
About the Author
Paula Hawkins worked as a journalist for fifteen years before turning her hand to fiction. The Girl on the Train is her first thriller. An international #1 bestseller, published in 50 countries and over 40 languages, it has sold over 11 million copies worldwide and has been adapted into a major motion picture starring Emily Blunt. Hawkins was born in Zimbabwe and now lives in London.
Most helpful customer reviews
1577 of 1733 people found the following review helpful.
ALCOHOLIC AMNESIA
By Red Rock Bookworm
THE GIRL ON THE TRAIN is a dark, haunting and depressing psychological thriller, but it's incredibly effective thanks to the writing skills of author Paula Hawkins. Rachel is a divorced woman who would do anything for a drink, and like a lot of folks consumed by a love affair with the bottle, one might call her a victim of circumstances. Her husband Tom had an affair that resulted in a pregnancy. He divorced Rachel, married the "other woman" and now all three (husband, wife and child) are happily ensconced in the house that was once Rachel's.
The train that Rachel rides to London each day takes her past her old neighborhood. From the window of the train she observes not only her old garden that backs up to the tracks, but also the daily activities of another couple who reside down the street from her previous home. In her imagination she has given the couple names and has created a fairy tale love life for them. Real life, however, cannot live up to her fantasy and the couple does not have the picture perfect relationship that Rachel has concocted. When a murder occurs, Rachel becomes entangled in the investigation because of what she has witnessed on her daily commute.
This rather bleak story with intersecting timelines is told from the viewpoint of three different women Rachel, Anne and Megan. All the women are unreliable narrators with something to hide. In fact, most of the characters in this novel, including the men, lack veracity, and are a self-serving and unsympathetic group with plenty of skeletons in their closets.
Lest I continue and divulge too much of the plot, let me just say that the twists and turns in the story are many and readers will be easily drawn in, making it easy to devour this book in one afternoon.
29 of 31 people found the following review helpful.
Baffled by Its Success
By blondewriter99
I think I would ordinarily cut this book more of a break because it is fast-paced - Hawkins wastes zero time describing anything that doesn't have to do with exactly what is going on in the moment - and while that doesn't make her a great writer, there is absolutely nothing here that will transcend, or reverberate within you long after you've finished reading - it at least doesn't bog you down with preciousness. But because the book has received so many rave reviews - I have to judge it more harshly because it just isn't deserved. This is serviceable writing at best - about the level you'd read on Fiction Press - about the level you would get from a first year MFA student. If someone is digging around in something, they are 'scrabbling' (over and over). The lead character's blackouts are along the lines of: "I couldn't remember. It was all dark. All black. All cloudy. Couldn't remember." I'm making that up, but it's not significantly different. So, that's the writing, let's get to the plot.
The book is told from the POV of three different female characters, none of them compelling in the slightest. We're supposed to care deeply that a woman who chronically cheats on her husband disappears. I really didn't care that she did, frankly. Then we're supposed to care that Rachel, who drinks too much on the train while she pretends to commute to a job she doesn't have and obsesses about her ex-husband and her 'barren womb', may or may not have witnessed a crime. I didn't care about Rachel, didn't care about the woman who'd gone MIA. Now let's get to the third character you can't care about - Anna. I don't even remember her place in the story I cared about her so little. Oh, right, she's the woman who is responsible for the breakdown of Rachel's marriage and is now married to Rachel's ex, Tom.
As others have noted, the three female characters have little to discern them from each other, and speak in a nearly identical voice - except one of them drinks. All three lament about men - constantly. They seem to have no other life interests - not one has a hobby, a job, or anything compelling her forward from day to day that doesn't have to do with a guy. (The guys all turn out to be jerks.)
I suppose people like this do exist, I'm just not sure why I'm supposed to care about them - or why anyone else did, or how this book got to be so popular. I've heard it was compared to Gone Girl but other than both having a missing woman at the core, and 'Girl' in the title, there seems to be no comparison whatsoever.
The 'twist' isn't a twist in the slightest, just the reveal of the missing woman's murderer, and it's exactly who, about three-fourths of the way through (and I'm not good at guessing twists), you suspect it is. Then the 'reveal' is the guy confessing he did it in a speech you'd hear some cartoonish villain give in a super hero movie or soap opera. That kind of 'Bwahahaha I did it!' thing. Very convenient.
But I guess the biggest thing that bothered me was that the entire crux of the story is based on the idea that Rachel has an alcoholic blackout - and the author explains (twice) that when you are having an alcoholic blackout, your brain does not create memories - so there is nothing to 'remember'- but then lo and behold she suddenly has a memory breakthrough, and solves the crime. I thought she wouldn't have been creating memories? It's as if the author wrote half her book, then decided to do some research (googling) and when she found research that blatantly contradicted the plot point her book hinges on, decided "Oh, what the heck, I'll keep writing" and then decided to INCLUDE her research. And her editor didn't notice or (more likely) didn't care.
A couple of other things an editor (if this book had one) should have picked up on: Much is made of a pile of clothes by the train tracks - so much so that the book opens with a description of them - the importance of the clothes? None. Zip. Zero. And there's a red haired man who keeps popping up - muttering esoteric things - we assume he will be integral to the mystery. Nope, he just disappears.
Other stuff I could complain about but it would be spoilery. It seems if books are bought by book clubs, they become huge sellers, no matter how evisceratingly terrible (witness 50 Shades of Grey).
Here's one thing I admire the author for: She wrote this book in four months (it shows) and it became a HUGE bestseller. Awesome for her. So few authors ever make it to that level - even with stunningly well-written books - so kudos to her for whatever alchemy happened to guarantee she's got some money to retire on.
26 of 28 people found the following review helpful.
A reading contrarian
By Anonymous
The book's opening chapters grabbed and held my interest. Then my interest began waning and quickly was transformed to annoyance, impatience, outright irritation and finally, full-blown dislike. I ended up really disliking this book. I thought the plot was so implausible and contrived - and, of course, many suspense/mystery novels are implausible and contrived, but this is yet another one of the type that has no foot in reality - as to be unacceptable. It veered into absurdity. More than that, however, was my increasingly intense dislike for all of the characters - every single one of them, but probably most of all, the main character, Rachel. I found her alcoholism, her black-outs, her laxity, her passivity, her strange behavior even outside of her alcoholic binges, everything about her just repugnant. But that was true of every character for different reasons and to varying degrees of dislike. The stylistic technique of alternating "voices" was OK and the different female characters represented in those voices were fairly well distinguished, enough so as to follow "their chapters." One thing that I did appreciate, and it stands on contrast to "Gone Girl", was the absence of detailed, specific, "graphic" sexual material. There were indirect references but we weren't forced into the beds, bodies and minds of people in sexual encounters - and I appreciated that! I didn't find any obvious type or similar types of editing errors, also appreciated. I thought the basic style and quality of writing was OK, outside of plot. Character development was OK, but they were just so thoroughly unlikeable and unlikely, in my opinion.
2016 has been a year that for me, as an enthusiastic reader, has been a year in which I have learned to distrust blurbs, critics, and reviews in general. I have read too many books this year that were glowingly reviewed, best-selling, even award nominees - and yet left me thinking: where have all the great novels gone? Do I have to return to beloved books of the past and re-read?
Apparently plenty of people like this book a lot. I'm not one of them.
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