Book Review: ‘The Stranger You Know’ by Andrea Kane

Andrea Kane’s The Stranger You Know is the third book in the Forensics Instincts series. Forensics Instincts is a crack investigative group that draws on top talents in disciplines like surveillance and behavioral science, headed up by its tough, intelligent founder, Casey Woods. I’ve not read either of the previous F.I. books but it wasn’t much of a disadvantage, as Kane finds ample opportunity to bring new readers up to speed on the skills and relationships that inform the team’s dynamic.

The Stranger You Know centers around a character from one of those previous F.I. books, The Girl Who Disappeared Twice. In that book, serial killer Glen Fisher was caught and locked away by the team, and even though he remains in jail he’s found a way to go after them, and Woods in particular. Girls with physical similarities and deeply-buried connections to Woods are dying, and somehow Fisher is pulling the strings from prison. The body count is mounting on a daily basis, and the man responsible is making it clear that Woods herself is the intended endgame.

Much of this is going to be familiar ground to regular thriller readers. Serial killers seeking revenge on their pursuers, the prisoner manipulating events from his cell, the “random” victims who aren’t random at all – it’s all standard thriller fodder. Kane does introduce a supernatural element to the proceedings in the form of F.I. teammate Claire, an “intuitive” (i.e., a psychic) whose abilities help the team hone in on the killer. Claire’s presence is a strong asset for the F.I. team, but Kane is for the most part judicious in her use of the character, resisting the urge to let the convenience of psychic ability pave over every difficult plot point.

Overall, The Stranger You Know isn’t breaking any new ground. As far as I’m concerned, though, familiarity doesn’t automatically breed contempt. You can tell me a story I’ve heard before as long as you tell it in a compelling way, and although I never got deeply invested in these characters or this story, Kane did at least hold my interest throughout.

The main stumbling block for me in this book is the dialogue. Achieving a natural conversational flow in dialogue is essential in building compelling characters, and Kane really struggles with this in my opinion. For example, when describing a crime in progress to a police officer, one character says, “It could be a fait accompli already.” Later on, someone says, “I’ll be doing yoga in the third-floor office where I store my mats.” It’s too stilted, too specific when compared to the way people actually talk, and lines like this popped up multiple times, pulling me completely out of the story each time.

Misgivings aside, I found The Stranger You Know to be a solid thriller. It’s got the convoluted plot and brisk pacing that you want, but it lacks the strong characterization and innovative approach that would elevate it for me. As it stands, Kane’s new novel is a fine diversion and fun, if ultimately forgettable, read.