The Murder After the Night Before by Katy Brent
“I open my eyes, groggy, the familiar feeling of having had too much to drink feels like home now. I wonder if I’m stuck in some eternal loop of passing out and waking up feeling awful, again and again, for the rest of time.”
The Murder After the Night Before (HQ, 2024), British journalist and author Katy Brent’s second novel is a vivid work of fiction with many interpretations. Set in the UK, the book follows the story of Molly Monroe, whose life changes in one night. She wakes up with the worst hangover of her life and a stranger in her room. Molly soon learns that a racy video of her has gone viral, and she doesn’t remember a thing. The next day, she finds her roommate and bestie, Posey, dead in her bathroom. The story takes a wild turn.
“I try to block out my paranoia by focusing on what I can remember. It’s a grounding exercise I was taught by a therapist once…”
Molly, as the protagonist, is not a perfect hero to begin with. She’s a woman in her early thirties with a dearth of ambition, low self-esteem, and a questionably angry response to people who love her and wish to help her. Her defence mechanisms work double shifts, and her mind constantly buzzes with streams of consciousness and doubts. But as she deals with (or hides away from) her best friend’s sudden demise and the horrid consequences of going viral, Monroe is left confused, vulnerable and defeated – and she soon concludes that Posey’s death may not be an accident. She’s convinced that Posey was murdered.
Amidst all these problems, Molly is constantly reminded of the need to become the well-rounded and benevolent person everyone thinks she can be. But when she realises this, it may be too late. The police, her friends and her neighbours do not take her seriously, deeming the loss a terrible drunken accident, which pushes Molly to work alone to find the murderer. In her mind, Posey was a woman of substance: a successful, confident person who had her shit together. Sure, she was someone who made mistakes but she was strong enough to pull her weight; someone who could build a beautiful life and look after the people she loved. But as Molly uses her quest for justice as a way to lift herself up, she finds truths that make her question if she knew Posey as well as she thought she did.
“That’s your journalistic instinct. I hear Posey’s voice so loudly, I actually turn around expecting her to be there. She’s not, of course, and I haven’t really heard her voice, it’s my traumatised mind playing tricks on me.”
As Molly digs for the truth, slowly discovering secrets about Posey’s life, things fall into place when she gradually remembers the events of the night before. As an ensemble set of characters is introduced, their journeys piece the story together until the final telling conclusion where all the threads are connected.
The Murder After the Night Before blends literary fiction with elements of the thriller genre, broadening the narrative framework of the story. When I picked up this novel, I had a different set of expectations, and though the author ticks all of those boxes – the ecstasy of a murder mystery story, the comedic escapades of the characters, page-turning plot lines and twists, the guessing game, and a bold climax – I was met with more than that. I adored Brent’s writing and voice, and as an emerging writer, found a sense of similarity and resonance. Molly’s internal monologues made me laugh. Bold themes took me by surprise and engaged me. And this story also made me cry. In the beginning, what seemed like a comedic adventure and a thrilling murder mystery was also a story about womanhood and morality, an intense account of grief, and a chilling insight into the menacing dynamics of social media.
“But it turns out rock bottom was really a false bottom and there are several more layers of shame hiding underneath it. My darling girl was trying, willing to help me. And I constantly threw it back in her face.”
In the novel, the social media frenzy peaks when Molly is bombarded with slurs, judgement and abusive comments even in the face of an ongoing tragedy. It made me wonder how important it is for us to speak about the ‘necessary’ evils of the internet, the social connection that connects no one, and the need for decency as a part of criticism. Similarly, one of the supporting character’s arcs shows the strength of social media and its power when used to create a caring community with positive outcomes – yet it also showcases how easily voices are drowned out when selective censorship takes over. The alternative storylines are beautifully woven into the novel, offering a sharp look at transgression and crime.
Molly’s memories of her bond with Posey, the duty to follow through with what Posey left behind, and her pursuit for justice shine through, yet go beyond the classic whodunnit mystery to help her fight lingering demons. It explores the anguish and commotion in the wake of loss as we take in Posey’s words: “I have so much more to say.”
Yukti Narang (she/her) is an emerging Indian creative writer, screenwriter, and dramatist. Her work has appeared or is forthcoming in literary magazines and anthologies including Room Magazine, The Chiron Review, Forest Publishing, Ekstasis Review, and Sunday Mornings at the River. Her fiction is part of a forthcoming anthology by Rupa Publications India. Yukti has poetry, prose, reviews, original short films, dramas, theatre plays and performance acts, and writing on art to her credit. She wishes to be a versatile storyteller. Her debut book, ‘There Is A Home In All Of Us,’ (Khalis House Publishing UK, 2023) is a poetry collection based on a fictional narrative. Currently, Yukti is creating her new literary and screen works. She has completed her poetry collection, ‘House of Mad Kings,’ and continues to write original pieces for literary magazines and anthologies. She has applied to writing programs, fellowships, prizes, and internships. Yukti is working to make it big in literature and cinema. Connect with her here.