After so many years of defining herself in relation to her husband Sebastian, Mariana Andros is no longer sure who she is or how she can keep going after his sudden death.
She still has her work as a group therapist but that’s cold comfort when she has nothing but memories to hold onto.
A distressed call from Zoe, the niece she and Sebastian raised, is enough to rouse Mariana from her grief. One of Zoe’s friends at Cambridge University has been murdered. The death is violent and sinister. Worse, it is only the first.
Reluctant to leave her niece in a time of crisis, Mariana agrees to stay at the college surrounded by memories of her own time as a student when she and Sebastian first met. The longer Mariana spends on the familiar campus, the more certain she is that Edward Fosca is the killer.
Fosca is a charismatic and well-liked Greek Tragedy professor. Sharp and formidable, his cult of personality is so strong among his female students that it’s not hard to intuit his guilt despite an alibi.
As Mariana is drawn further into the investigation, her fixation on Fosca grows. Pursuing Fosca could ruin Mariana’s professional reputation, her personal relationships and–as she gets closer to the killer–even her life might be forfeit in The Maidens (2021) by Alex Michaelides.
The Maidens is Michaelides’ second novel. Most of the story follows Mariana with a close third person narration. All main characters–including one readers may recognize from Michaelides’ debut–are presumed white.
The Maidens is a tense university-set thriller with an audiobook version ably narrated by Louise Brealey and Kobna Holdbrook-Smith. Michaelides covers similar territory here to his debut, once again featuring a psychoanalyst protagonist and a shocking case.
Although it is decidedly high concept, The Maidens does little to capitalize on any of its potential. Mariana–a theoretically complex protagonist dealing with intense grief, a patient who is stalking her (which causes her surprisingly little distress), and an increasingly obsessive interest in Fosca as the book progresses–is reduced to little more than a grieving widow. If she has a personality beyond missing Sebastian and investigating Fosca, Michaelides never shows it.
Abrupt chapter breaks eliminate any chance for readers (or Mariana) to meditate on plot points not to mention leaving no room for anything in the way of character development. The breakneck pace of the story and its focus on plot are perhaps why so much of The Maidens feels heavy-handed. Information key to solving the mystery is obscured with plot devices including intermittent chapters from a nameless male character while the identity of the murderer is heavily broadcast even as their motivations remain frustratingly opaque.
With a resolution that is as unsavory as it is unsatisfying, The Maidens feels less like a thriller by the end and more like an object lesson in the veracity of the maxim “physician, heal thyself.” Readers looking for a twisty thriller where no one is quite who they expect would be better served by Alice Feeney’s Rock Paper Scissors which although not a dark academia novel employs similar narrative devices to better effect.
Posssible Pairings: Ninth House by Leigh Bardugo, Now You See Me by S. J. Bolton, Rock Paper Scissors by Alice Feeney, House of Correction by Nicci French, Never Saw Me Coming by Vera Kurian, Missing, Presumed by Susie Steiner
*An advance copy of this title was provided by the publisher for review consideration through Libro.fm*