This review appears on paperbackparis.com:
Liz Nugent‘s latest novel Lying in Wait is a masterclass in dissecting the ripple effects of murder. In the fall of 1980, Annie Doyle is murdered by a wealthy Dublin couple. We know the how, the where, and the why early in the novel. These driving murder mystery elements play no role in this story. Instead of pursuing a breadcrumb narrative to and ending of truth and resolution, Nugent makes the reader an omniscient observer — presenting all the details of this sordid tale through the perspectives of three separate characters. In doing so, we, the voyeurs, must watch in horror as Annie’s death leads to a lifetime of poison and malice for all those who remain living.
Annie’s murderers — Andrew and Lydia Fitzsimmons — avoid suspicion by wielding their wealth and social status as a shield. Nobody would suspect an upstanding judge and his pretty, unassuming wife in the death of a junkie prostitute, but a few key details catch the attention of one astute detective and the Fitzsimmons 18-year-old son, Laurence. Lydia, incapable of empathizing with anyone outside her class feels little remorse over her role in the murder and attempts to shade over her crime as an unfortunate mishap that Annie was asking for by virtue of her status as a guttersnipe.
Andrew, on the other hand, does not deal well with his crime. Who knew a history of angry outbursts would lead to him strangling a woman he hired to carry his baby so Lydia could finally have another child? On top of his business partner running away with the family money, the guilt becomes too much to bear. Meanwhile, Laurence is piecing together the events of that night and comes to the realization of what he believes to be solely Andrew’s crime. Their already strained relationship becomes further damaged as the mounting anxiety and disdain begin to seep into every aspect of their lives.
Fast forward to five years later. Andrew is dead. He made it only six weeks after the murder before having a heart attack. Laurence is still obese and subdued — resigned to covering up his father’s crime, which his mother now knows he’s aware of. Lydia — the darkest and most sinister character in Nugent’s story slowly reveals more about her past. Her killing blow to Annie’s head wasn’t her only act of violence, and that act has left her in a limbo between perpetual childhood and suffering motherhood. Even as Laurence makes attempts at living an independent life, Lydia’s relationship with him grows ever more toxic and dependent.
It seems like they’ve struck a hopeful balance when Laurence find work as a government employee and begins dating a mousy young woman named Bridget. It isn’t love, but Laurence is relatively content even though the shadow of Annie Doyle, and his obsession with her, still covers life like a veil. When he meets Gerry Doyle, the insidious notions of class and wealth passed on to him by Andrew and Lydia begin to recede. Gerry separated from his wife after Annie’s disappearance, blaming him for her broken life. When she was a teenager, Annie became pregnant. Gerry sent her to a mother and daughter home — a notorious institution run by the Catholic Church where women are renamed, forced to perform manual labor, and eventually give up their children. Unable to escape those years of her life, Annie fell into drug and alcohol abuse.
Annie family never stopped hoping for her return. Especially her sister, Karen — the ultimate link between past and future. But the cops never do much to investigate, and they’re told to simply move on. Karen marries young, and works in a dry cleaner until she’s discovered by a modeling scout who’s son was none other than the detective who had suspicions about Andrew Fitzsimmons five years prior. Through her, she learns that Annie is most certainly dead, which sends her on a mission to find the killer.
When Laurence meets her, past, present, and future are set in motion towards one of the most twisted endings to ever grace the pages of a thriller. Nugent paces each character’s narrative to a steady rhythm of dread, misplaced trust and rage. Laurence, Karen and Lydia inch closer and closer to each other, drawn inexorably towards a cataclysmic end.
But Nugent isn’t solely interested in the ways a murder can bend the course of events over time. Lying in Wait also bears the mark of Ireland’s troubled history of shaming women in the name of religion, fostering a culture of abuse by men and those in power, and the way undesirable members of society are subjugated into silence. Annie, who falls prey to these forces, avenges the atrocities of her life in death.
Unfortunately, not all is redeemed, and in the end, we find the cycle has continued.