Louise Doughty’s last novel, Apple Tree Yard, was a heady mixture of secrets, betrayal, and complicity in violence in contemporary Britain. The same themes loom large in her eighth novel, Black Water, although in the very different context of the genocide in Indonesia in 1965 and the riots there in 1998.
Doughty has never shied away from traumatic subjects: Fires in the Dark examined the Nazi mass murder of the Romany people; Honey-Dew focused on the brutal killing of a middle-aged couple; and Whatever You Love on the death of a child. It was the 50th anniversary of the Indonesian genocide last year, and few popular writers have tackled the subject in recent times.
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