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One character who is richly drawn, considering their interactions throughout the book, is Trisha's dad. 

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One character who is richly drawn, considering their interactions throughout the book, is Trisha's dad. 

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Although he is not properly introduced, we understand this character by references to him, and the stories told about him. Trisha's dad is plays a large role in this book, which is why it is so important for him to be well known - richly drawn.

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"What you do know: Your father's face. A story that ends with a thud. A shadow slipping into the woods. It was a dark, rainy night. Moonless, and thank God for that. A slide out of a nightmare"(Kamal 261)

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Was it really Trisha's fault her dad died?

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Was it really Trisha's fault her dad died?

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That is the unasked question throughout this book. And although there may be different interpretations and outlooks, each new chapter has readers pondering this question once again. Trisha's development throughout the book gives readers a better understanding of her character, but the more we understand her, the more possible answers there could be to the question.

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"There will also be tamarind balls for me, because he knows how much I love them. That's the only thing he knows about me. He brings nothing for Ma, nothing but his fists" (Kamal 13)

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"'What kind of films would you make?' 'Horror. But not the gory kind. The kind that's about when real life goes wrong'" (Kamal 168)

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"'Do you ever miss your dad?' I ask. He shakes his head. 'No. I'm glad he's gone.' 'Me too'" (Kamal 235)

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"The food I just ate threatens to come back up, but I will it to settle because I need my strength. After twenty minutes... I drop and do push-ups until I see stars" (Kamal 133)

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"'And Columbus saw Ravi too. The night Dad died. Ravi was trying to break into the house when he knew me, you and Aunty K were gone and only Dad would be there'" (Kamal 160)

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"There's an attempt at the radio but Ma's nerves can't take it, so she switches it off... Ma's phone rings and because you're next to her, you hear Pammy's voice on the other end, shrill, as if in warning" (Kamal 258)

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"Who was that shadow slipping into the trees the night Dad died? Why did Ravi have Dad's phone in his bag? Did Dad drop it and he just picked it up? Who attacked Dad in Trinidad?" (Kamal 177)

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"The three of them, Ma, Pammy, Aunty K, seem satisfied somehow. I can't stand it. The looks! Like they know things, secret things. Female things. And I'm back to the day of Dad's funeral... Something passing between them" (Kamal 132)

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"The beat of a steel pan coming from Ravi's bag, playing a very familiar song. I recognize that ring tone... I don't recognize the number that called right when I turned it on, but that doesn't really matter so much because what I do know is that somehow, Ravi had my dad's phone" (Kamal 103).

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"If he was a monster, what does that make me?" (Kamal 116)

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"'I killed my father.' He sighs. 'It was an accident, Trish'" (Kamal 235)

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"Where the tears come from, I don't even know, but now they're falling from my lashes and the cop softens and in that moment we have him, we really do. It's such a good story" (Kamal 250)

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"I should be weeping and pulling my hair out like I'm in a Bollywood film or something. But I can't be bothered because I have training to do and a mother to wonder about. I can't stand their pitying looks... Like I'm the broken one. Me. Not Dad" (Kamal 46)

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"The sound of bones breaking. A skull cracking apart. Their bodies are twisted, broken. Ravi's neck is facing a direction it shouldn't be. His eyes are wide open and blood spews from his mouth. He sputters, chokes" (Kamal 242-243)

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"I know you didn't mean to kill him. You were driving, it was dark.' 'There was rain,' I remind her. 'Yes,' she nods. But you hadn't seen him. You didn't mean to'" (Kamal 254-256)

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"When you pull onto the road to your townhouse co-op... one of those hands shoots out, grabs the steering wheel... To what? Help you? Stop you?... The both of you steer the car into the drunk man stumbling around the parking lot. You both killed your father. Both wanted him dead" (Kamal 259)

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"When you pull onto the road to your townhouse co-op... one of those hands shoots out, grabs the steering wheel... To what? Help you? Stop you?... The both of you steer the car into the drunk man stumbling around the parking lot. You both killed your father. Both wanted him dead" (Kamal 259)

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"There's almost nobody here for Dad's cremation service... Dad's rum shop friends couldn't even peel themselves off their barstools long enough to show up in the afternoon?" (Kamal 3)

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"She gets a hook in to my temple, to the place I got hit once before, where I went plummeting to the mat and felt my head was going to explode... and her movements have us turned away from the ref when she lands an illegal elbow to my broken nose... now there's blood all down my face" (Kamal 225-226)

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The tone is both mentally and physically dark. 

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The tone is both mentally and physically dark. 

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Throughout the book we can identify some "mentally dark" examples, the main one being Trisha denying her emotions, using Muay Thai to push away her issues. She also tends to ignore and reject others who try to help her. With that being said, the "physically dark" examples are the more gory scenes we see from her fights.

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This book has a complex storyline, which enhances readers other senses to find deeper meaning in every word. 

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This book has a complex storyline, which enhances readers other senses to find deeper meaning in every word. 

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Most ideas in this book are all somehow related. However, many things are not adding up. This only makes readers need to connect the dots themselves, as the story still unravels.

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This book's ending is powerful, and confusing that is totally up to readers to decipher. 

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This book's ending is powerful, and confusing that is totally up to readers to decipher. 

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All it does is retell Trisha's story, but in a way to get the readers thinking about the unasked question again: Was the death of her dad her own fault?

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"What comes back to you: It was a dark, rainy night. There was no moon out. A story that ends with a thud. Your father's face. A shadow in the woods. A slide into a nightmare" (Kamal 1)