It's easy to think of intimate, single-POV novels as somewhat simple narrative exercises, but Ashley Audrain's gripping debut is proof that this is an illusion. In the hands of the right storyteller, even the most compact novels can be works of great complexity.

The Push unfolds through the mind and pen of Blythe, an aspiring writer whose decision to become a mother is weighted against her own difficult childhood. Blythe is determined to be the mother she never had, but her first child, Violet, doesn't make that easy. Blythe's husband gets along with their daughter fine, but Blythe can't help but think that something is off, particularly when their second child gives her the kind of parenting relationship she always wanted. Even then, the feeling that something is not quite right about Violet persists, until it goes so far that Blythe's entire world is altered in a single shattering moment.

The Push is a dazzling exercise in both economy of language and vividness of expression. Audrain's grasp of Blythe's inner life—her fears, her hopes, the details that linger in her mind— is so precise and mature that we get lost in this woman's often troubling world. That feeling propels the novel forward at a blistering pace, but Audrain doesn't stop there. This is just one woman's side of the story—a woman who's a writer, at that—so even as we feel we know Blythe, we can't help but wonder how much of what she's telling us is fiction. That this suspicion can coexist with the intimacy of Blythe's narration is proof of Audrain's skill as a storyteller and makes the book that much more spellbinding.

The Push announces Audrain as a sophisticated, compelling writer, perfect for fans of thrillers and intimate family dramas alike.

Though Blythe Connor is determined to be a loving mother, she's convinced that there's something wrong with daughter Violet—a fear that her husband firmly rejects, leading Blythe to wonder whether she's losing her mind. Blythe gets a respite when their son Sam is born, but a single terrible event reconfirms her fears. A debut bought in a heated auction and has sold to 30 territories; Heyday Productions has optioned TV rights.

DEBUT Three generations of women deal with motherhood in this dark debut. Blythe's mother, Cecelia, left when she was 11 years old, and Blythe decides she shouldn't have children, as Cecelia wasn't a good role model. Their toxic relationship pales in comparison with Cecelia's relationship with her mother, Etta. Fox, Blythe's gentle husband of three years, persuades her that it is time to have a baby. But Blythe can't connect with their daughter, Violet, although Fox is immediately enamored. As Blythe sinks into depression, Fox is convinced that she just doesn't love the baby enough. Blythe sees behavioral issues in Violet that increase as the girl starts school, but Fox turns a blind eye. Then Blythe has a son, Sam, and her maternal feelings for him are real and deep. Things still aren't good with Violet, though, or with the marriage, and a tragic accident causes Blythe and Fox's relationship to implode. This is not your typical tale of motherhood, and the superlative writing results in a gripping, unforgettable story. VERDICT For readers who enjoyed the darkness of Oyinkan Braithwaite's My Sister, the Serial Killer, Ottessa Moshfegh's Eileen, or Joyce Carol Oates's Jack of Spades.—Stacy Alesi, Eugene M. & Christine E. Lynn Lib., Lynn Univ., Boca Raton, FL

Growing up as the latest link in a long chain of toxic mother-daughter dyads, aspiring writer Blythe, the narrator of Audrain's emotionally devastating debut, has no desire for parenthood herself, until she falls for gentle, supportive Fox Connor, who can't imagine not having kids and convinces her otherwise. Daughter Violet's birth three years later starts the clock ticking toward the implosion of the couple's marriage. In the eyes of Fox, who is away most of the day at work, Violet's an angel; to exhausted and overwhelmed Blythe, there's something fundamentally wrong with the baby. Or is there? As Blythe worries over the years that Violet lacks normal feelings of empathy and affection, concerns that Fox keeps dismissing as only in her head, things continue to deteriorate until, desperate not to lose Fox, Blythe becomes pregnant again. Son Sam's arrival blindsides her: to her astonishment, she loves Sam ecstatically. A tragedy precipitated by seven-year-old Violet is by no means the end of the twisty, harrowing ride to the dark side of motherhood Audrain pilots so skillfully. This is a sterling addition to the burgeoning canon of bad seed suspense, from an arrestingly original new voice. Agent: Madeleine Milburn, Madeleine Milburn Literary, TV & Film Agency.