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343 pages, Hardcover
First published June 20, 2017
1. Nora is an investigative journalist, and it never strikes her as curious that she cannot remember her mother's name;
2. Nora is an investigative journalist, and it never occurs to her that there should be some photographs, a stamped passport, some sort of empirical evidence to document her world travels and years (years!) spent abroad;
3. Sam, an investigative journalist who is clearly a good deal more competent than Nora, explains to her that her "friend" Shelby Coughlin did not exist prior to moving into Nora's building. Far stranger still, Shelby's has no utility bills (i.e., her lights draw no electricity, her TV generates no cable bill, her phone no corresponding bill), and her rent is drawn monthly from a trust fund in Nora's name. Nora has no knowledge or access to such a trust fund and lives extremely modestly to be able to meet the expense of her own one-room walk-up. Yet Shelby is a Heykeli, effectively a golum/puppet, created by a lonely Nora. So if Nora invented Shelby to help her negotiate the world, how does Nora have access to financial resources that bolster the illusion that is Shelby to which Nora herself does not have access. This. Literally. Makes. No. Sense.
4. While an admittedly minor point, as Nora/Indigo arrives in New Rochelle, NY, prior to heading into her final battle, she leans, weakened against a tree. "Unable to remember the last time she had eaten or drunk anything, she dry-heaved for a minute or two, the back of her throat burning with bile" (p. 296). Seriously? How about the scene not too far in the past (p. 210), where you ordered a triple espresso and Damastes spoke to the baristo through you? Really? Nothing?; and then
5. Much later in the book during a crucial fight scene, Nora/Indigo ponders how she could possibly move someone else through the shadows as she has
never attempted such a feat before. Except for the fact that she successfully accomplished this very thing back on page 188.