Have you ever finished reading a book and then dreaded reviewing it because the story was so awesomely complex you fear your words of opinion aren’t going to do it justice?
Well, Breaking Glass is a little like that for me. It’s the kind of book that you should try and put enough time aside to read in one sitting. Because this story is so interwoven with intricacies and details, and clues, and hints, and behaviour the reader will want to interpret—which means there is a LOT going on—that once they start, they won’t want to put it down because the need to get to the bottom of it becomes a driving force.
Jeremy Glass is such a likable and connectable character. His ‘situation’ is handled with expertise, finesse, and what appears to be a natural ease. I liked him from the off. Felt sorry for him from the off. Even within that very first scene of the opening, the author does a great job in helping you to understand just what kind of fellow he is—and you instantly empathise, whilst immediately disliking Ryan, and possibly scorning Susannah. And within no time, the author has her readers exactly where she wants them.
Yet, all is not as it seems within the pages of Breaking Glass. So blindsided by feelings he’s spent too many years trying to suppress—or at least to hide—even Jeremy doesn’t realise how freakin’ wrong he has been.
I don’t want to say too much because even the slightest detail can spoil the reveals within this tale—and there are lots; LOTS of twists and turns, and deception, and misdirection, and battles for friendship and love and self-understanding or discovery, all wrapped up within the adolescent and pubescent package that is the awesome Jeremy Glass. I can’t praise the unveiling and almost taunting path that Susannah insists we all tread along enough. It’s definitely what will have you all turning the pages, reading high into the night, and quite possibly sitting on the edge of your seats.
Oh, yes, and did I mention it’s creepy? Because it is—Breaking Glass is as creepy as heck.
My only gripe is right near the end, there are a couple of ‘scenes’ (the term is used lightly) where the POV suddenly switches to Susannah (at least, I think that’s what happened—it wasn’t clear—almost like backflashes). I didn’t like them. We’d had NO POV scenes from her up until then. She’d played no part in narrating the story other than through her clues she left for Jeremy. And suddenly those scenes popped up out of nowhere to fill in a couple of gaps in the details. It was a little lazy, I thought, and wrongly handled. I’m pretty sure the author could’ve found a better way to expose those details without jarring the amazing flow she’d created.
Otherwise, this is one helluva creepy and mysterious ride, and I’m very glad I climbed on board. I’ll definitely be looking out for more from Ms Amowitz, that’s for sure.