I See You: The addictive Number One Sunday Times Bestseller

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When Zoe Walker sees her photo in the classified ads in a London newspaper, she is desperate to find out why it's there, and more importantly who put it there. Worse still it's among the ads for 'escorts' chat lines and dating agencies. And so begins this journey of terror that knows no limits, but I don't want to give anything away because I wouldn't want to spoil the journey for YOU. It's just so strange, because everyone in our family has great eyes—none of us wear glasses—although you know what? I told her that if she kept on reading in the dark it would ruin her eyes. This one, with the books! I mean, don't get me wrong, reading is good, of course, but you can take a good thing too far, for God's sake! I hate to say it, I really do, but I was right. I mean, was I right, Eleanor?" There were tears sliding down my face, from the goop. I wasn't crying. I felt like it was important to tell the doctor this. There were lots of times during this book I felt I was reading a book written by someone who hadn't written before, the writing was amateur and the dialogue unbelievable in places. Nodelman, P., & Reimer, M. (2003). The pleasures of children’s literature (3rd ed.). Boston: Allyn and Bacon.

Media Reviews

Bradford, C. (2003). “Oh how different!”: Regimes of knowledge in Aboriginal texts for children. The Lion and the Unicorn, 27(2), 199–217. Kelly badly wants to redeem herself, and - and when one of the 'photo women' is murdered - manages to get herself seconded to the Murder Investigation Team (MIT). With Kelly's help the MIT discovers that one of the FINDTHEONE' women was raped, and others were crime victims as well.

A] deliciously creepy tale of urban paranoia.”—Ruth Ware, New York Times bestselling author of The Woman in Cabin 10 The story alternates between Zoe Walker's personal life (first person) and PC Kelly Swift's investigation (third person), with occasional interludes from a potential stalker (second person). When Zoe gets home, she can’t get the disturbing photograph out of her mind. She confides in her friend, Melissa, who tells her not to worry about it. She puts it down to an unfortunate coincidence. Zoe, however, is not convinced, especially when she sees another girl’s picture in another newspaper—a girl who was recently robbed and strangled. Believing she is next, Zoe approaches the police. Cloran, C. (1989). Learning through language: The social construction of gender. In R. Hasan & J. R. Martin (Eds.), Language development: Learning language, learning culture (pp. 111–151). Norwood: Ablex.Taylor, F. (2003). Content analysis and gender stereotypes in children’s books. Teaching Sociology, 31(3), 300–311. On top of that, Zoe has personal concerns. Zoe's son Justin, a computer nerd who works in a coffee shop - tends to sponge off his mother;

Williams, G. (2001). Literacy pedagogy prior to schooling: Relations between social positioning and semantic variation. In A. Morais, B. Davies, & H. Daniels (Eds.), Towards a sociology of pedagogy: The contribution of Basil Bernstein to research (pp. 18–45). New York: Peter Lang. Everything might still be okay, I reminded myself. There's been no bad news. But there was a "yet" that followed the thought, and I knew that I should brace myself for impact. Bezemer, J., & Jewitt, C. (2010). Multimodal analysis: Key issues. In L. Litosseliti (Ed.), Research methods in linguistics (pp. 180–197). London: Continuum. I wanted reassurance. I wanted to be told I was overreacting; paranoid; delusional. I wanted false promises and glasses-half-full. A few days ago I worried the police weren’t taking me seriously; now I’m worried because they are.It was obvious, too, that by failing the tests, I'd confirmed some hunch he had. I was furious that Dr. Hall wasn't bothering to mask his satisfaction in having his hunch—whatever the hell it was—confirmed. But more than my anger, I felt a mounting wave of terror building. I See/You Mean pioneers a feminist novelistic form that is both completely of its moment and remarkably prescient of our own. Many of its formal decisions have been taken up by later writers. Other innovations—most notably, the refusal of perspective and the evacuation of narrative authority—seem like lost opportunities, paths that could have been taken but were not. Like recent works by novelists such as Chris Kraus, Valeria Luiselli, Ruth Ozeki, and Sally Rooney, I See/You Mean invites us to read it autobiographically. Its methods, though—rigorously excluding a narrator’s perspective in which all threads might be (even provisionally) tied up, and expanding the diegetic frame to include every aspect of the book’s creation—make clear its distance from subject-centered “autofiction.” The book’s recent republication by the Los Angeles press New Documents allows us to consider its formal principles as anticipating, but also as a counterpoint to, current tendencies in women’s writing. Zoe Walker is a victim of routine, as so many of us are, taking the same commute daily to and from work. She sees a photo in the classified section of a newspaper while on the train and recognizes the picture to be her own, even though she can’t place exactly when it was taken. As the novel proceeds Zoe is increasingly sure that she is in harm’s way and reports her suspicions to the police and her family and friends. Here begins my disbelief in the character. Although she suspects danger, she doesn’t do anything to change her routine or protect herself. The sounds of the underground echo through this one as an anchor, for any Londoners it will be a joy, you’ll be able to see things unfold in the minds eye – and to anyone who does not know London that well, has never experienced the joys (??) of that particular system you’ll feel like you know it well. I loved this aspect of it, but again thats all you get you’ll just have to read it.