Harriet “Harri” Kealty is struggling. Her true love has abandoned her, leaving her helpless. Following the strange death of the attacker of her companion, she is no longer employed as a police officer. And to top it all off, she is fixated on a murder-suicide in which her ex-boyfriend is the main suspect.

This British thriller blends suspenseful turns with serious themes of fate, regret, sadness, and desire for nearly three-quarters of its running time. A third-person omniscient narrator and narrative snippets from transcribed video recordings, correspondence, and court transcripts are used in this multi-media performance. It keeps the reader on the edge of their seat, like a thriller should. And after that, it plunges down a cliff, much like one of its protagonists. Three of its key characters are accomplished scientists, and the book gives clues that their research may be relevant throughout, hinting at a probable science-fiction aspect.
As long as you don’t give it too much thought, the outcomes when it does are initially sort of intriguing and then extremely innovative. The author goes on to explain. and clarifies. and clarifies. For a number of pages at a time, Harri practically disappears. Harri, get back here! Eventually, she does, but by that time, the reader is drowning in scientific theory and battling the book’s verbose interpretation of the space-time continuum. When an author is prepared to take a risk, it is great, but this leap comes so quickly and drastically changes the tone of the book—not to mention its genre—that the reader could wonder what happened to the taut thriller they were just reading.
The storyline explication in the last chapters of the book makes the conclusion appear further away as you read on.