How to Get Away with Murder Summary, Book Review: A Twisted Hunt
Introduction to How to Get Away with Murder Summary & Review
What would you do if the person who shattered your mental health walked free while a serial killer’s manifesto became a bestseller? That question haunted me for weeks after finishing this book.
How to Get Away with Murder is Rebecca Philipson’s debut psychological thriller—a meta-fiction crime novel that alternates between a chilling killer’s instructional guide and the fragmented consciousness of a detective fighting to reclaim her life.
The story follows Samantha Hansen, a Met Police officer recovering from a psychological breakdown, who returns to duty only to find a copy of the titular book at the scene of a fourteen-year-old girl’s murder.
This How to Get Away with Murder summary, book review explores whether a manual written by a monster can also be the map that leads a wounded detective back to herself.
TL;DR (Too Long; Didn’t Read): The Quick Book Snapshot
⏱️ Short Summary ⚡ (NO SPOILERS)
A traumatized detective returns to Scotland Yard and discovers a how-to manual for killers at a child’s crime scene. The book explores whether the author is a real serial killer or a distraction, offering a reading experience that’s equal parts procedural investigation and psychological recovery narrative.
🔹 Key Takeaways (High-Level • Spoiler-Free)
Questions whether the systems meant to protect us actually enable predators
Explores how trauma reshapes memory, identity, and the ability to trust
Examines the ethics of true crime consumption when real victims become entertainment
Demonstrates that the most dangerous people often hide behind respectable masks
🧠 Themes (Very Brief)
Institutional failure • Trauma recovery • Media exploitation of violence • The banality of evil • Vigilante justice
🎭 Tone / Style
Cold instructional chapters alternate with visceral, sensory-driven detective prose—unsettling and immersive
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Scroll down for the full How to Get Away with Murder summary and analysis—trust me, you’ll want the context.
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👉 Watch on YouTube: How to Get Away with Murder Summary & Review | Rebecca Philipson
Book Details & Data
Publisher: Minotaur Books
Publication Date: February 24, 2026
Print Length: 368 pages
ISBN-10: 1250409438
ISBN-13: 978-1250409430
Genres: Psychological Thriller, Crime Fiction, Women Sleuths, Police Procedurals
Sub-genres: Meta-fiction, Vigilante Thriller
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How to Get Away with Murder by Rebecca Philipson isn’t just another serial killer thriller—it’s a smart, unsettling deconstruction of the true crime genre itself.
If you’ve ever wondered what happens when the monster writes the manual, this book will keep you guessing until the final page.
How to Get Away with Murder Book Review & Literary Analysis
Note: This section provides a detailed literary analysis of the book, covering themes, characters, symbolism, and romance tropes. It is intended to interpret the story rather than summarize it, helping readers understand the deeper layers of the narrative.
Themes Analysis
| Theme | Analysis |
|---|---|
| Institutional Misogyny | The Met Police’s failure to prosecute DS Phil Lowry after Sam’s assault mirrors real-world patterns where male predators are protected over female victims’ careers and mental health. |
| Trauma’s Physicality | Sam’s “phantom tastes” (salt, seawater) and tinnitus aren’t metaphorical—Philipson treats PTSD as a bodily experience that shapes how she investigates. |
| The Fiction of Evil | Denver Brady claims murders he didn’t commit, revealing how “serial killer” mythology is often constructed after the fact for notoriety and profit. |
| Legacy vs. Reality | Windsor’s belief that “once a legacy is formed, the real version of you becomes irrelevant” speaks to how reputation outlasts truth in media culture. |
| Class and Violence | The contrast between Charlotte’s affluent family and Betty Brown’s working-class North East death highlights whose murders receive attention. |
| Surveillance Culture | Trackers, phone data, and money trails show that modern killers are caught by their digital footprints—yet the system still fails victims. |
| Self-Defense as Reclamation | Sam’s final act uses the killer’s own logic to reclaim agency, asking whether violence can ever be “clean” when the law refuses justice. |
Character Analysis
| Character | Role | Development Arc | Key Relationships |
|---|---|---|---|
| Samantha Hansen | Protagonist/Broken Detective | Moves from paralyzed trauma survivor to active vigilante; reclaims agency by using the killer’s methods | Harry (godfather/betrayer), Adam (trust), Toni the dog (emotional catalyst) |
| Denver Brady / Julius Windsor | Antagonist/Fraudulent Killer | Constructs a serial killer persona to cover one real murder; his narcissism blinds him to Sam’s threat | Betty Brown (victim/aunt), Andrei Albescu (scapegoat) |
| Adam Taylor | Supporting Protagonist/Idealist | Represents traditional policing values; learns the system is broken but stays loyal to Sam | Sam (mentor), his own privilege (foil) |
| Harry Blakelaw | Secondary Antagonist/Corrupt Patriarch | Sacrifices Sam’s wellbeing for political gain; retires unscathed despite enabling injustice | Sam (goddaughter), his own career (priority) |
| DI Tina Edris | Professional Rival | Competent but trapped in departmental politics; ultimately takes credit for Jack’s arrest | Sam (tension), the system (compliance) |
| Richie Scott | Abuser/Secondary Villain | Embodies domestic violence the system ignores; becomes Sam’s final target | Melanie (dead girlfriend), Lindsay (new victim) |
| Julius Windsor | Final Form of Denver | A “disappointing” man in a bad tie whose evil is banal; proves monsters aren’t special | His own ego (worship) |
Symbolism in The Book
| Symbol | Meaning |
|---|---|
| Toni the Dog | Broken, wonky-legged, abandoned—mirrors Sam’s state. Her decision to keep him represents choosing to care for something wounded, including herself. |
| The Oak Tree | Recurring murder site (Sarah, Charlotte). Represents how killers return to familiar ground and how trauma marks specific landscapes. |
| Salt/Seawater Taste | Sam’s phantom symptom. Connects to drowning (Jono, the Samaritan victims) and the overwhelming nature of trauma flooding her system. |
| The Flamingo Tie | Windsor’s absurd accessory. Represents how evil often wears ridiculous costumes—monsters aren’t dramatic, they’re just men with bad taste. |
| The Pregnancy Test | Found in Charlotte’s belongings, planted on Daisy’s crime scene. Symbolizes how killers exploit society’s judgment of women’s bodies. |
| The Bonus Chapter | Meta-textual trap. The book within the book gives Sam (and readers) permission for vigilante violence, blurring who the real monster is. |
| Newcastle/Move North | Geographic escape from London’s corruption. Represents starting over, but Sam’s final line suggests she’s bringing her “brand of justice” with her. |
Settings & Genres
| Element | Details |
|---|---|
| Primary Setting | Modern-day London (New Scotland Yard, Holland Park, affluent suburbs) |
| Secondary Setting | North East England (Newcastle, Sunderland, County Durham mining towns) |
| Tertiary Setting | Bath, HMP Prison |
| Genre Classification | Psychological Thriller (dominant), Police Procedural, Meta-fiction |
| Narrative Style | Alternating first-person (Denver’s guide chapters) and close third-person (Sam’s narrative) |
| Tone Classification | Unsettling, analytical, viscerally sensory during trauma sequences |
| World-Building Approach | Grounded in real UK police procedure with fictional corruption elements |
Your Next Read: No One Is Safe Summary, Book Review: Can a Monster Learn to Protect?
Who This Book Is For?
Readers tired of serial killers being glamorized as geniuses
True crime consumers willing to examine their own complicity
Fans of Gillian Flynn who want something even darker
Anyone fascinated by how trauma physically reshapes perception
People who appreciate when thrillers engage with class politics
Readers who enjoy spotting literary references (Dickens, Ted Bundy, Ann Rule)
Those who’ve ever felt failed by institutions meant to protect them
Audiences who don’t need romantic subplots to stay engaged
People who argue about endings—this one will spark debate
Readers who want their genre fiction to also be smart fiction
Books Like How to Get Away with Murder by Rebecca Philipson
New Releases (Last 5 Years):
None of This Is True (Lisa Jewell) – Similar use of media manipulation and fractured female perspectives
The Last House on Needless Street (Catriona Ward) – Unreliable narration and trauma-as-structure with shocking reveals
The Survivors (Jane Harper) – Atmospheric crime with deep psychological wounds and small-town secrets
Pretty Girls (Karin Slaughter) – Gritty violence, institutional failure, and sisters seeking justice
The Push (Ashley Audrain) – Psychological intensity focused on motherhood and inherited trauma
Established Classics:
Gone Girl (Gillian Flynn) – The blueprint for manipulative narrators and marriage-as-horror
The Girl on the Train (Paula Hawkins) – Broken female protagonist whose memory can’t be trusted
In Cold Blood (Truman Capote) – Referenced directly; explores the gap between killer and myth
The Collector (John Fowles) – First-person killer voice that’s chillingly articulate
American Psycho (Bret Easton Ellis) – Satirical take on how privilege protects predator.
About the Author: Rebecca Philipson — Phenomenon
Rebecca Philipson is a North East England author whose debut thriller arrives with serious academic credentials.
She holds a BA, MA, and PhD in English Literature, which explains the book’s sophisticated play with narrative structure and its Dickensian references.
Before writing, she was named “Young Entrepreneur of the Year,” suggesting the same drive that powers her protagonist’s relentless investigation.
Famous Books:
How to Get Away with Murder (2026)
Authors with Similar Style:
Gillian Flynn (psychological complexity), Tana French (atmospheric police procedurals), Val McDermid (UK crime authenticity)
External Sources:
Instagram: @rebeccaphilipson
Full Book Summary
Main Questions This Book Answers
⚠️ Alert: May contain minor spoilers
(These questions are explored through the book’s plot, themes, and character arcs, without revealing major spoilers.)
Can you trust a killer’s confession if it’s written for publication? No—Denver’s guide is performance, not truth. He claims murders he didn’t commit and lies about ones he did, proving confession is just another narrative.
What happens when the system meant to protect you causes your trauma? You either break permanently, or you learn to work outside the system. Sam chooses the latter, suggesting institutional betrayal creates vigilantes.
Is a serial killer still a monster if they’re boring in person? Yes—Windsor’s banality is the point. Evil doesn’t require charisma; it requires opportunity and the willingness to act.
How does trauma change the way you investigate? Sam’s physical symptoms (tinnitus, phantom tastes) make her hyper-aware of sensory details but also cause catastrophic collapses. Her body becomes both tool and obstacle.
Who gets to be a victim in true crime narratives? Betty Brown’s decades-old murder only matters because Denver claimed it. Philipson argues that working-class, elderly, or “unphotogenic” victims are ignored until a killer makes them famous.
Can you fight fire with fire and still be the good guy? The book refuses to answer. Sam’s final act uses Denver’s methods against abusers, but the reader is left holding the moral question, not the solution.
What’s the difference between a serial killer and a man who kills one person? Marketing. Denver builds a brand around one murder; the book suggests the “serial killer” category is partly media construction.
Is self-defense still self-defense if you set the trap? Sam booby-traps her home and lures Richie there. Legally, it’s self-defense. Morally, the book asks: did she plan it? Did that matter?
What is How to Get Away with Murder about?
(Spoilers Ahead)
Sam Hansen is a former Met Police officer living through “Present Sam”—a fragmented existence of therapy, medication, and phantom tastes that trigger whenever she approaches her old life.
Six months ago, colleague DS Phil Lowry assaulted her, and her godfather DCI Harry Blakelaw promoted Lowry instead of supporting her prosecution.
When fourteen-year-old Charlotte Mathers is found strangled against an oak tree in Holland Park, Sam crashes the crime scene.
The killer left a book nearby: How to Get Away with Murder by “Denver Brady,” who claims to be the most successful active serial killer in the Western world. Sam is assigned to a “book inquiry team” with trainee Adam Taylor.
Denver’s chapters describe murders with unique knowledge—drowning a boy named Jono in a quarry, strangling a convent girl named Sarah, beating an elderly woman named Betty Brown. Sam traces the book’s publication through a Brighton printer that conveniently burns down.
The money trail leads to a student account, then a mule account in Cardiff, then disappears to the Cayman Islands.
Sam discovers Betty Brown was real—a North East woman tortured and killed. But Denver lied about the details, minimizing his violence. Dr. Tweedy, the pathologist, reveals Betty’s fingers were broken before death, information never released.
Denver has “unique knowledge” because he’s either the killer or the investigator. Sam realizes Denver is Betty’s nephew, Barry Brown, who changed his name after inheriting her money.
Meanwhile, Charlotte’s uncle Jack emerges as the real killer. He used Denver’s book to stage the murder and frame the “serial killer.” Sam also discovers that Denver’s victims are alive—Sean Lister never jumped, Amy is a UCLA professor. Denver fabricated most of his “career” to build a legacy.
The Met arrests Andrei Albescu, a Romanian immigrant, as Denver Brady. Harry Blakelaw pushes the conviction through for his retirement glory. Sam knows Albescu is framed but is suspended when she refuses to cooperate.
Denver’s true identity is Julius Windsor, a London lawyer who changed his name from Barry Brown. He killed Betty for inheritance and wrote the book to obscure one real murder with dozens of fake ones. Sam confronts him, but he mocks her—the case is closed, he’s safe.
Sam turns her attention to Richie Scott, a domestic abuser who killed his girlfriend Melanie and was freed after Denver’s book created reasonable doubt. Richie has a new victim, Lindsay.
Sam helps Lindsay escape, plants Lindsay’s tracked phone at Windsor’s house, and waits for Richie to come for her.
Richie breaks in. Sam lures him up a booby-trapped staircase and beats him to death with a steel bat. She stages the scene as self-defense and calls 999. The book ends with Sam moving to Newcastle, telling a detective the North “isn’t going to know what hit it.”
Must Read Next: The Hard Line Summary, Book Review: The Gray Man’s Deadliest Blood Feud
How to Get Away with Murder Ending Explained
⚠️ May contain spoilers
Sam becomes what she hunted—not a serial killer, but someone who uses the “Bonus Chapter” methodology to deliver justice the system refuses.
She doesn’t kill Windsor (Richie does that for her), but she orchestrates Richie’s death as “self-defense.”
The ending asks: if you use a monster’s playbook against monsters, are you still the hero? Sam’s final smile suggests she’s made peace with the ambiguity.
Plot Analysis
Rising Action: The dual investigation—finding Denver and Charlotte’s killer—creates tension as Sam realizes the book is both clue and distraction
Climax: Not one but two confrontations—Windsor’s mockery in his office, then Richie’s death in Sam’s home
Falling Action: Sam’s calculated performance for 999 dispatch, proving she’s learned exactly how to “get away with murder”
A Similar Summary: Her Last Breath Summary, Book Review: A Harrowing Thriller of Survival
How to Get Away with Murder Summary by Chapter
⚠️ Spoiler Warning: This section contains detailed, chapter-by-chapter plot summaries.
*“My Name Is Denver Brady, and I Am a Serial Killer” *
Denver introduces himself as the most successful active serial killer, operating since before age twenty. He claims he chose murder as vocation, not compulsion, and is writing this book for legacy.
*Chapter 1: “Present Sam” *
Sam reflects on her breakdown six months ago. She’s in therapy with Dr. Pete Thomson, struggling with concentration and physical symptoms. A child homicide in Holland Park reignites her desire to return.
*“How Serial Killers Really Get Caught” *
Denver lists why killers are caught—betrayal by associates, not forensics. He describes his first kill at twelve: pushing a larger boy into a quarry.
*Chapter 2: “Return” *
Sam watches Harry Blakelaw on news appealing for witnesses. She prepares for her first day back, realizing her old clothes don’t fit. A panic attack on the bus brings salt taste, but she reaches the station.
*“Popping My Cherry” *
Denver details drowning “Jono” at the quarry. He describes the joy he felt and how this success set his path.
*Chapter 3: “The Book” *
Sam meets trainee Adam Taylor in the Holmes Room. Charlotte was posed under a tree with carved initials “CM + DB.” Sam begins reading Denver’s book.
*“How Do You Solve a Problem like Marry Her?” *
Denver describes killing “Sarah,” a convent girl, under an oak tree after she rejected him. He carved their initials to ensure she wouldn’t be forgotten.
*Chapter 4: “The Pregnancy Test” *
Sam interviews Charlotte’s friend Jessica. Charlotte loved pranks and nineties movies. Sam finds an unopened pregnancy test in Charlotte’s belongings.
*“This Little Piggie Went to Prison” *
Denver explains UK police structure and advises varying MO to avoid detection. He mentions meeting Sarah while a psychology student.
*Chapter 5: “The Website” *
Sam discovers Denver’s professional website. She and Adam create his timeline—he’s Sam’s age, from North East England. Sam visits the Mathers’ home and learns Charlotte’s uncle Jack is often present.
*“Tea Time with Betty” *
Denver describes murdering elderly “Betty” with a Wedgwood clock. He recommends moving water over fire for evidence disposal.
*Chapter 6: “The Dog” *
Sam learns Charlotte’s Nando’s order was for three people. She adopts a scruffy dog tied up outside, naming him Toni.
*“Blondie and Victim Selection” *
Denver outlines victim selection principles—avoid children, choose randomly. He describes the “Samaritan Technique” using fake suicide notes.
*Chapter 7: “The Printer” *
A linguist identifies Denver’s dialect as Sunderland. Nigel Mathers reveals the book at a press conference. The Brighton printer has just burned down.
*“A Gay Old Time” *
Denver describes manipulating “Sean” into jumping off a bridge by posing as a Samaritan and goading him about sexuality.
*Chapter 8: “Betty Brown” *
Adam finds a real Betty Brown in Newcastle. On the train north, Sam struggles with the “Sean” chapter. The Brighton arson timing matches Denver’s need to destroy records.
*Chapter 9: “The Pathology” *
In Newcastle, Dr. Tweedy reveals Betty was tortured—broken fingers, burned—not killed quickly as the book claimed. Denver has unique knowledge. Sam collapses in the station corridor.
*“The Truth Won’t Set You Free” *
Denver advises framing others. He admits telling cousin Bobby about his motives; Bobby died “under tragic circumstances” the following July.
*Chapter 10: “Joint SIO” *
Harry makes Sam joint SIO with Tina Edris despite her instability. The money from Denver’s book flows to Cayman Islands accounts.
*“Brutes” *
Denver describes killing “Melanie” and framing her boyfriend Richie Scott with bloody fingerprints. He took her diamond earrings as souvenir.
*Chapter 11: “Richie Scott” *
Sam and Adam visit Richie in HMP Bath. Richie claims Denver was a “lanky” man with foreign accent. Sam reflects on her mother’s “accidental” death and father’s temper.
*“Timing and Alibis” *
Denver advises using routines for alibis. He describes killing “Daisy” and planting a pregnancy test to frame her ex-boyfriend.
*Chapter 12: “Sean Lister” *
Sean Lister arrives at the station—he’s alive. Denver was a “scrawny” boy who visited his student digs, obsessed with Ted Bundy.
*Chapter 13: “The Tracker” *
Dr. Thomson warns Sam that Harry is using her as shield. Sam reviews crime scene photos and realizes the killer used a tracker on Charlotte. Adam reveals Andrei Albescu, Romanian immigrant, is the Brighton arsonist.
*“It’s a Love Story” *
Denver describes failed date with “Amy,” trying to drown her after rejection. He claims she died, but the news had no picture.
*Chapter 14: “Amy” *
Amy, a UCLA professor, arrives—she’s alive. Her date wore a glowing pinky ring. Sam realizes Jack Mathers killed Charlotte for inheritance.
*“When Things Go Wrong” *
Denver recounts a victim fighting back, slitting his throat. He scrawled “My name is Denver Brady” as legacy while bleeding out.
*Chapter 15: “Sarah’s Letters” *
Sister Mary Louise reveals “Sarah” committed suicide after becoming “in trouble.” She provides letters from “B.B.”—Barry Brown.
*Chapter 16: “Jack’s Arrest” *
Tina arrests Jack Mathers. Sam gives her credit. Andrei Albescu confesses to writing the book, but Sam suspects coaching.
*Chapter 17: “Julius Windsor” *
Andrei’s lawyer Julius Windsor arrives in a flamingo tie. Evidence bags contain book drafts and Betty’s sapphire ring. Harry suspends Sam when she refuses to charge Andrei.
*Chapter 18: “Dark Days” *
Sam isolates with Toni. Harry retires in triumph. Andrei is charged with Denver’s crimes. Protests erupt over women’s safety.
*Chapter 19: “The Tie” *
Sam sees Richie Scott’s conviction overturned on TV. Julius Windsor stands beside him, wearing the flamingo tie. Neil Duggan confirms Barry Brown changed his name to Julius Windsor.
*“Legacy” *
Denver reflects on near-death and legacy. He argues the real person becomes irrelevant once legacy forms. Signs off as “Denver Brady, SK.”
*Chapter 20: “Confrontation” *
Sam visits Windsor’s office under author pretext. She confronts him in Room 1408, identifying him as Barry Brown. He admits killing Betty for money, writing the book to cover it. He mocks her—the case is closed.
*Chapter 21: “The Plan” *
Sam disguises herself and stalks Richie Scott in Bath. She watches him abuse new girlfriend Lindsay, forcing her to walk in the gutter.
*Chapter 22: “Lindsay” *
Sam lists her house for sale, planning Newcastle move. She meets Lindsay at a hairdressers, planning her escape.
*Chapter 23: “Farewell” *
Sam has dinner with Harry and Dr. Thomson. Harry brags about political aspirations, oblivious to Sam’s feelings. She realizes he always puts himself first.
*Chapter 24: “Closure” *
Sam visits Charlotte’s memorial tree, returns Jessica’s netball keyring. She feels “heady lightness.”
*Chapter 25: “The Escape” *
Sam drives Lindsay to King’s Cross. En route, she hides Lindsay’s tracked phone in Windsor’s hanging basket, ensuring Richie tracks there.
*Chapter 26: “The Attack” *
Richie attacks Windsor, leaving him critical. Sam leaves her door unlocked, waiting.
*Chapter 27: “The Kill” *
Richie breaks in, attacks Sam with her baton. She Tasers him, lures him up booby-trapped stairs, and beats him to death with a steel bat. She stages the scene and calls 999.
*Chapter 28: “The North” *
Sam is released from hospital. Adam brings Toni back. A detective questions the timing, but Sam deflects. She prepares to move to Newcastle, saying the North “isn’t going to know what hit it.”
*“Bonus Chapter” *
Denver advises killing people you know through staged accidents or the “Self-Defense Ploy”—enticing attack in your home to claim proportional defense. He hopes his voice lingers in the reader’s head.
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Quotes From How to Get Away with Murder by Rebecca Philipson
“My Name Is Denver Brady, and I Am a Serial Killer.”
“The problem with breakdowns is that you rarely see them coming.”
“For most killers, murder chooses them. In my case, I chose murder.”
“Forensic evidence is far more likely to convict you than it is to identify you as a suspect.”
“Every contact leaves a trace… our response is simple: fuck you, Locard.”
“Seeing and saying the truth requires courage.”
“The badder the serial killer is, the hotter they get.”
“You’re not the only one who loves a good plot twist.”
“I just hope that the North is ready for my brand of justice.”
You Will Love This Review: One of Us Summary, Book Review: A Story of Class, Secrets, and Revenge
Frequently Asked Questions (FAQ)
Is How to Get Away with Murder based on a true story?
No, but it references real cases (Ted Bundy) and true crime literature (Ann Rule’s The Stranger Beside Me). The fictional “Denver Brady” is a composite of killer mythology.
Do I need to read the bonus chapter?
Yes—the Bonus Chapter is essential to understanding Sam’s final actions and the book’s meta-commentary on self-defense.
Is this book part of a series?
No, it’s a standalone thriller. Philipson hasn’t announced sequels, though Sam’s move to Newcastle leaves room for continuation.
How graphic is the violence?
The book contains descriptions of strangulation, beating, and torture, but Philipson focuses more on psychological impact than gratuitous detail. The final beating scene is brutal but necessary to the theme.
What does “meta-fiction” mean in this context?
The book is about a book—Denver’s guide exists within the novel, and characters discuss its meaning. The structure comments on true crime consumption itself.
Is the ending satisfying?
That depends on your tolerance for moral ambiguity. Sam “wins” but becomes something darker. Readers seeking clean resolutions may struggle.
Who is the intended audience?
Adult readers of psychological thrillers who enjoy complex female protagonists and aren’t afraid to question their own genre consumption.
How does it compare to Gillian Flynn?
Philipson shares Flynn’s interest in unlikable women and narrative manipulation but is more explicitly political about class and institutional failure.
Are there trigger warnings?
Yes—sexual assault (referenced), domestic violence, child murder, torture, and graphic self-defense killing.
Conclusion
The real evil isn’t the charismatic monster—it’s the system that protects men like Harry Blakelaw, the apathy that lets women like Betty Brown be forgotten, and the culture that turns murder into entertainment.
Sam’s final act isn’t justice in any legal sense. It’s something messier: a woman taking back her life by any means necessary. Whether that makes her hero or villain is a question each reader must answer alone.
My Final Rating: ★★★★☆ (4.3/5 stars)
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Sources & References
- Amazon’s book page
- Goodreads’s book page
- Author’s image source: macmillan.com
- Book Cover: Amazon.com
