TL;DR
7/10. Paula Hawkins’s blockbuster psychological thriller, a blackout-prone alcoholic narrator who becomes entangled in a missing-person case she may have witnessed from her commuter train. A gripping, twisty page-turner built on unreliable narration, with a messy, unlikable heroine whose dysfunction is the point. Strong entertainment, a notch below the genre’s best.
The Girl on the Train by Paula Hawkins is one of the defining psychological thrillers of the 2010s, a runaway bestseller that rode the wave of unreliable-narrator domestic suspense following Gone Girl. The narrator, Rachel, is a divorced alcoholic who rides the same commuter train daily. She invents a fantasy life for a glamorous couple she watches from the window. Then the woman vanishes, and Rachel, who may have witnessed something during one of her frequent blackouts but can’t remember, inserts herself into the investigation.
Told through multiple unreliable female narrators, it’s a twisty, gripping, atmospheric thriller. As a strong entry in the psychological-suspense genre, it gets a solid rating. The cleverest move is making the narrator a blackout drunk. Her memory gaps become the central mystery and a built-in source of unreliability, instead of an authorial trick.
Unreliable narration done right
The book’s main strength is its use of unreliable narration. Rachel’s alcoholism and blackouts mean neither she nor the reader can trust her memory of important events. Her unreliability is organic to her character instead of a contrived device, a smart piece of construction. Hawkins builds on it by telling the story through multiple female narrators across different timelines. Each has her own blind spots and deceptions, so the truth emerges in disorienting, suspenseful fragments.
This layering of limited, unreliable perspectives generates real tension and keeps the reader guessing, and it’s the craft underpinning the book’s page-turning success. The mechanism is the genre’s stock in trade, but Hawkins deploys it skillfully.
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A messy, unlikable heroine
One of the book’s more interesting choices is its commitment to an unlikable, dysfunctional protagonist. Rachel is a mess, a self-pitying, lying, often pathetic alcoholic whose behavior is frequently hard to watch, and the novel doesn’t soften her into easy sympathy. This is deliberate and effective: her dysfunction drives both the plot and the unreliability, and her slow, partial movement toward agency gives the book a character arc beneath the thriller mechanics.
Readers divide on this, some find spending a novel inside Rachel’s spiraling head grim and frustrating, while others appreciate the honesty of a damaged, realistic narrator over a conventional heroine. The willingness to make her unpleasant is a real strength.
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What are the weaknesses of The Girl on the Train?
The caveats keep it from the genre’s top tier. The plot, gripping in motion, relies on coincidences and contrivances that look shakier on reflection, and the ultimate resolution strikes some readers as less satisfying or surprising than the build-up promises. The relentlessly bleak tone and the time spent inside a spiraling alcoholic’s self-pity make for a grim read that wears on some.
And the book arrived amid a wave of similar unreliable-narrator domestic thrillers and doesn’t fully transcend the formula, it’s a very good example of the type instead of a reinvention of it. These are real limits on its achievement, though they don’t negate its page-turning effectiveness.
Is The Girl on the Train worth reading?
It’s a gripping, atmospheric psychological thriller and a defining bestseller of its moment, valuable for its organic use of unreliable narration, a blackout-prone alcoholic whose memory gaps are both the mystery and a believable source of doubt, layered across multiple flawed female narrators, and for its bold commitment to a messy, unlikable heroine whose dysfunction drives the story. It gets a solid rating as a strong entry in the genre.
It falls short of the top tier for a plot that leans on contrivance, a resolution some find underwhelming, a relentlessly bleak tone, and its place within a crowded wave of similar thrillers it doesn’t fully transcend. For a twisty, absorbing suspense read, it delivers. Recommended.
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