After a string of books that left me feeling exhausted both mentally and emotionally, it was time for a break. I wanted some literary equivalent of pop rocks: bright, snappy, and done in a flash. Enter, The Shining Girls.
Lauren Beukes’s 2013 novel was the poppy, page-turning summer read I was looking for. Set in Chicago, we meet time-traveling serial killer Harper Curtis and spunky victim-cum-survivor, Kirby Mazrachi. Harper’s power to flit in and out of time makes him seemingly impossible to catch, and the book leads us to wonder not just if Harper can be stopped, but how Kirby will ever figure out who attacked her and why she survived.
It was the conceit that completely drew me in. A man out of time who instead of learning about the worlds he finds himself in, learns everything he can about his next victims, his “shining girls.” Their habits. Their tics. Their likes and dislikes. Their daily routines. Everything he can until it’s time to strike, promising as always to come back for them on another day, in another time.
Beukes uses this idea to play with perspective. Alternating chapters between Harper and Kirby are expected and effective, but what I appreciated most was her decision to give each victim a chapter of her own, from her point of view, as well.
When you’re writing a book about murdered women, I think this step is crucial. Without it, the bodies stack up and mean nothing. They’re just gore and shock and horror and the death of a woman is used as set dressing and quite frankly, we live in a world that just doesn’t need any more reinforcement of the idea that the destruction of women’s bodies is “just for fun.”
Beukes humanizes these victims. Her writing is just strong enough to let the deaths pack a punch. When these victims die, it’s not horrific because it’s graphic (though it typically is graphic). It’s horrific because for just a moment, we learned something about their hopes and dreams—their innermost lives—before seeing them snuffed out forever. And because we’re floating through time, we see all manner of women throughout Chicago’s history, from the Great Depression to punk.
This is not to say that Beukes’s writing is without its missteps. In fact, many of the book’s most awkward moments come from the time-travel aspect. In an attempt to highlight what era we’re in, Beukes latches onto key historical moments, which works well with WWII. But when we get to a literal mention of Roe v. Wade, it starts feeling over the top. I don’t need to know the most pressing issues of the day to know what year it is. Thankfully, these moments are spread out.
My only other issue came with some of Beukes’s decisions regarding how several relationships were played out. Things essentially fell apart for me toward the end, leaving me scoffing or rolling my eyes during parts of the climax instead of cheering.
But I’d still put The Shining Girls ahead of Gone Girl, which I think was written about as well, but frustrated me far more. It’s fun, it’s exciting, it’s scary. In short? It’s everything a summer beach read should be.