The Last Room on the Left

It was supposed to be Kerry Walsh all by herself for a month as the Twilite Motel’s temporary caretaker. With no internet and no distractions, Kerry planned to use the time to complete the very overdue novel manuscript that garnered her an incredible advance and a film deal and was going to launch her literary career. However, when Kerry enters her temporary new home (the motel’s last room on the left), she discovers another woman’s belongings strewn about. There is no sign of the former occupant’s whereabouts until the next morning, when Kerry discovers a woman’s hand poking out of a snowdrift outside. Konen (Keep Your Friends Close) deftly shifts the mesmerizing narrative between characters as well as back and forth in time, with nerve-shredding results, before delivering a pulse-pounding conclusion with a final, delightfully devious, Hitchcockian twist. Not since Paula Hawkins’s The Girl on the Train or A.J. Finn’s The Woman in the Window has an unreliable protagonist been used to such great effect.