The "Is This My Life?" Check-In
I was sitting on my floor at 11:30 PM—Shirley (the cat, not the author) staring at me from the top of a bookshelf with that specific brand of feline judgment—when I hit play on this one. I needed a palate cleanser. I’d just finished a heavy, dense literary horror novel that required way too much brainpower for a Tuesday night, and I wanted something fast. Something sharp. Something that felt like a movie.
Let Me Go is exactly that.
Look, I’m a librarian. I see these "woman escaping her dark past" thrillers cross the circulation desk literally every day. It’s a crowded shelf. So when I picked this up, I was fully prepared to roll my eyes at the tropes. And yeah, they're there. But here’s the thing—sometimes tropes work because they tap into a very specific anxiety. And Kate Bold knows exactly which buttons to push.
The "You Can't Go Home Again" Vibe
We’re following Ashley Hope. She’s got the perfect suburban life, the wealthy husband, the master's degree in progress. She’s basically curated her existence to be the anti-Grundy County (her hometown). But then she has to go back.
(Side note: The description of her Polo-wearing husband sticking out among the locals? Painfully accurate. I felt second-hand embarrassment.)
What hooked me wasn't just the "serial killer ex-husband" plot—though, yikes—it was the atmosphere of dread. The idea that you can paint over your past, buy nice furniture, and marry a guy who probably owns boat shoes, but the rot is still underneath. That’s horror adjacent. That’s my jam.
The pacing is relentless. It’s a short listen—just over 7 hours—which means there’s no room for filler. It moves. I meant to listen for an hour while I reorganized my vinyl collection, and suddenly it was 2 AM and I was double-checking my deadbolt. (Don't judge me.)
The Voice in Your Ear
Okay, we need to talk about Billie Bryant.
I did a quick scroll through the reviews before I started (bad habit, I know), and wow, people are divided. It’s love or hate. Some folks called it "terrible."
Here is my professional opinion: Those people are wrong.
Or at least, they’re missing the point. Bryant isn't doing a subtle, whispered narration here. She’s performing. She differentiates the characters with actual distinct voices—which, if you listen to as many audiobooks as I do, you know is a gift. Her delivery has this emotional weight to it. When Ashley is terrified, Bryant sounds terrified. She doesn't detach herself from the text.
Is it dramatic? Yes. But the book is about a serial killer hunting his ex-wife. It’s supposed to be dramatic. If you want a monotone reading of the phone book, look elsewhere. Bryant understands the assignment. She keeps the energy high, and honestly, that’s what a thriller needs. If the narrator sounds bored, I’m bored. Bryant was never bored.
Who Is This For?
If you're the type of person who analyzes plot holes in Criminal Minds, you might find a few things to nitpick here. It’s a suspense thriller, which means characters sometimes make choices that have you yelling "DON'T GO IN THERE" at your bluetooth speaker.
But if you want a ride? If you want that specific adrenaline spike of a cat-and-mouse game?
This is it. It’s gritty, it’s fast, and it’s got a protagonist you actually root for—mostly because she’s a survivor, not just a victim.
Shirley fell asleep during the climax, but she has no taste. I, however, was wide awake.
The Verdict
It’s not high art. It’s not trying to be. It’s a tense, well-crafted thriller that respects the genre and keeps the pedal to the floor. Sometimes, that’s exactly what you need to get through a week.
