Mr. Nobody by Catherine Steadman

Published by Ballantine Books on January 7, 2020

Mr. Nobody combines a medical thriller with a lost-memory thriller. On both fronts, the novel achieves only modest success.

Dr. Emma Lewis is an English psychiatrist who has an interest in memory disorders. She wrote a paper arguing that certain patients who suffer from a fugue state have been misdiagnosed as malingerers. In rare instances, she believes a fugue state can be attributed to traumatic stress rather than a neurological disorder.

An American neuroscientist, preeminent in the field, refers a patient who turned up on an English beach near Norfolk. The press have labeled the patient Mr. Nobody. This could be the case that makes Emma’s career, but the hospital where Mr. Nobody is being treated is in a town that Emma fled long ago, leaving tragedy and her birth identity behind. She has to work up the courage to return and hopes that nobody will recognize her. Of course, her hopes are promptly shattered when Mr. Nobody calls her by her former name.

Mr. Nobody (hospital staff eventually call him Matthew) has a desperate desire to connect with Emma but he can’t remember why. Matthew reminds Emma of her father, leading to melodramatic sentences like: “The look in his eyes, it reminds her of someone a long time ago, but it can’t be, it can’t be him.” Since Matthew is clearly too young to be Emma’s father, it isn’t clear why she even entertains the possibility. The military take an interest in Matthew, thinking he might be a missing soldier, a theory that might explain the fighting skills Matthew displays when another patient threatens Emma with a cane.

Secondary characters of note include a police officer who knew Emma back in the day and the officer’s wife, a reporter who is investigating the Mr. Nobody story, much to the displeasure of the police. The officer can’t tell his wife anything (she would blow Emma’s changed identity if given the chance), which causes some marital discord. That plotline eventually leads to a predictable resolution.

Most of the novel’s characterization is reserved for Emma. She comes across as a typical thriller protagonist who is forced to confront the past from which she is trying to escape. Her childhood trauma seems insufficient to warrant her change of identity, and the novel’s ultimate lesson — only you can change yourself — loses its value when applied to a character who is clearly smart enough to have internalized the lesson long before her encounter with Matthew.

The attempt to give Emma’s life a feel-good ending is forced. The plot creates more interest than suspense, if only because it follows a circuitous route to its less than credible destination. Catherine Steadman plants a few false flags, one of which supposedly reveals Matthew’s true identity well before the novel ends. A savvy reader will know that there is more to Matthew’s story. An information dump in the final pages offers a needlessly complicated and improbable explanation of how Matthew wormed his way into Emma’s life. The selective nature of Matthew’s memory loss and his ability to manipulate it is just too convenient to be credible. Some of the story reminded me of the movie Memento, which covers much of the same ground more convincingly.

On the other hand, Steadman’s prose is competent when she isn’t resorting to tiresome descriptions of Emma’s distress. The story moves fairly quickly and the climatic action scene isn’t bad. Emma isn’t a shallow character, although Steadman gave me little reason to empathize with her messed up life. Readers with daddy issues might like her more than I did. I am recommending the book because the story held my interest, but I do so with reservations because this isn’t one of Thrillerworld’s better attempts to freshen the lost memory theme.

RECOMMENDED WITH RESERVATIONS