Mary Watson’s adult debut, The Cleaner, presents itself as a deceptively simple revenge thriller wrapped in the elegant prose of a literary fairy tale. What begins as a straightforward narrative about Esmie, a cleaner seeking justice for her lover’s death, evolves into something far more complex and morally ambiguous. Watson has crafted a novel that demands careful attention, rewarding readers who appreciate psychological depth alongside their suspense.
The premise is undeniably compelling: Esmie arrives in an affluent Irish gated community called The Woodlands, posing as a cleaner to infiltrate the lives of those responsible for her lover Nico’s downfall. Armed with little more than a mop and an iron determination, she becomes invisible to her privileged employers, using their dismissive attitudes toward domestic workers as her greatest weapon. It’s a brilliant setup that immediately establishes class dynamics while positioning readers to root for the underdog.
A Masterclass in Unreliable Narration
Watson’s greatest strength lies in her construction of Esmie as an unreliable narrator whose true identity unfolds like layers of an onion. The revelation that Esmie is actually Simone, Nico’s former lover rather than his sister, arrives with devastating impact. This isn’t merely a plot twist for shock value; it fundamentally recontextualizes everything we’ve witnessed, forcing readers to question the nature of justice, revenge, and moral accountability.
The character development is particularly sophisticated in how Watson handles Esmie’s transformation from victim to perpetrator. The novel explores the uncomfortable reality that those who seek revenge often become the very thing they despise. Esmie’s gradual moral deterioration feels authentic rather than forced, culminating in her willingness to frame Amber for Isabelle’s murder—a death that occurs at the hands of yet another character seeking their own twisted justice.
Folklore as Narrative Framework
Watson’s use of the Norwegian folktale “The Sweetheart in the Wood” as a structural foundation elevates the novel beyond standard thriller territory. The recurring motif of Eden Hale’s poetry and the Bluebeard variations serve as both metaphor and warning. Just as the bride in the folktale discovers rooms filled with blood and bodies, Esmie uncovers the dark secrets hidden within The Woodlands’ pristine facades.
The interweaving of folklore with contemporary narrative creates an almost mythic quality to the proceedings. Watson understands that the best fairy tales were always cautionary tales about power, desire, and the consequences of our choices. The repeated phrase “she begged so prettily” becomes a haunting refrain that connects Nico’s obsession, Isabelle’s desperation, and ultimately Esmie’s own downfall.
The Politics of Invisibility
Where Watson truly excels is in her exploration of class and invisibility. Esmie’s foreign accent and occupation render her essentially invisible to her employers, allowing her unprecedented access to their private lives. This invisibility becomes her superpower, but Watson is careful to show how dehumanizing this treatment becomes. The casual racism and classism displayed by the residents of The Woodlands feels authentic and infuriating.
The novel’s treatment of immigration and belonging adds another layer of complexity. Esmie’s stolen identity as Esmerelda Lorenzo reflects the desperation of those who must reinvent themselves to survive, while her inability to return home speaks to the permanent displacement that revenge exacts.
Structural Weaknesses and Pacing Issues
Despite its strengths, The Cleaner by Mary Watson suffers from notable structural problems that prevent it from achieving true greatness. The novel’s middle section becomes bogged down in the mechanics of Esmie’s various deceptions and the complex web of relationships within The Woodlands. Watson introduces numerous subplots—Linc’s obsession with Eden Hale’s missing manuscripts, Ceanna’s trauma and addiction, the drug dealing operation—that don’t always serve the central narrative.
The pacing becomes particularly problematic during the extended sequences at Three Oaks cottage, where Esmie’s growing attraction to Linc feels both psychologically plausible and narratively frustrating. While these scenes effectively demonstrate Esmie’s increasing moral confusion, they slow the thriller elements to a crawl. The romantic subplot, though well-written, sometimes overshadows the revenge plot that should be driving the narrative forward.
Character Complexity and Moral Ambiguity
Watson populates her novel with characters who refuse easy categorization. Isabelle emerges as perhaps the most compelling figure—simultaneously victim and perpetrator, trapped in an abusive marriage yet complicit in illegal drug dealing that leads to death. Her notebook entries, written as fairy tale fragments, provide some of the novel’s most powerful moments, particularly her desperate attempts to escape Paul’s control.
The supporting cast is equally well-developed, though some characters feel more essential than others. Linc’s academic obsession with Eden Hale creates interesting parallels with Esmie’s own obsessions, but his storyline occasionally feels disconnected from the main plot. Amber, positioned as the primary antagonist for much of the novel, reveals depths that complicate our understanding of who deserves punishment.
Literary Merit Versus Genre Expectations
The Cleaner by Mary Watson occupies an interesting space between literary fiction and genre thriller, not always successfully bridging the gap. Watson’s prose is undeniably elegant, particularly in her descriptions of the Irish countryside and her integration of folkloric elements. Her exploration of themes like displacement, class, and the nature of justice demonstrates genuine literary ambition.
However, readers approaching this as a straightforward thriller may find themselves frustrated by the deliberate pacing and psychological complexity. The novel requires patience and careful attention to detail that not all genre readers will appreciate. Conversely, literary fiction readers might be put off by some of the more melodramatic plot developments, particularly the climactic murder scene.
The Weight of Consequences
What ultimately saves the novel from its structural issues is Watson’s unflinching examination of consequences. Every character pays a price for their choices, and Watson refuses to provide easy absolution for anyone, including her protagonist. Esmie’s final situation—trapped in Ireland, unable to return home, bound to a man she both loves and hates—feels like genuine justice rather than simple punishment.
The novel’s ending, with its echoes of the Bluebeard tale, suggests that some cages are of our own making. Esmie’s transformation from victim to villain to something more complex reflects Watson’s understanding that revenge rarely provides the satisfaction we expect.
Writing Style and Atmosphere
Watson’s prose style deserves particular recognition for its atmospheric density and emotional precision. Her descriptions of The Woodlands capture both its surface beauty and underlying menace, while her portrayal of domestic spaces—kitchens, bedrooms, studies—imbues them with psychological significance. The writing is particularly effective in conveying Esmie’s internal state, her growing isolation and moral confusion.
The novel’s structure, alternating between present action and flashbacks labeled “Home,” creates effective narrative tension while gradually revealing the full scope of Esmie’s tragedy. Watson’s use of folklore elements feels organic rather than forced, demonstrating her skill at blending different narrative traditions.
Final Verdict
The Cleaner by Mary Watson is an ambitious debut that succeeds more often than it fails, despite significant structural weaknesses. Watson has created a psychologically complex revenge thriller that grapples seriously with questions of justice, class, and moral accountability. While the novel’s literary aspirations sometimes conflict with its genre elements, resulting in uneven pacing, the overall effect is compelling and thought-provoking.
The book will particularly appeal to readers who enjoyed similar class-conscious thrillers like The Silent Patient by Alex Michaelides or In the Woods by Tana French, though Watson’s work demonstrates a more pronounced literary sensibility. Those who appreciate folklore-influenced narratives in the tradition of Madeline Miller or Naomi Novik will find much to admire in Watson’s integration of traditional tales with contemporary concerns.
The Cleaner announces Mary Watson as a writer capable of significant achievements, even if this particular novel doesn’t quite reach its full potential. It’s a promising debut that suggests even greater things to come.
Similar Reads
Readers who appreciate The Cleaner by Mary Watson should consider:
- The Silent Patient by Alex Michaelides – For psychological complexity and unreliable narration
- In the Woods by Tana French – For atmospheric Irish settings and literary crime writing
- The Invisible Bridge by Julie Orringer – For themes of displacement and survival
- My Sister, the Serial Killer by Oyinkan Braithwaite – For dark humor and moral ambiguity
- The Sanatorium by Sarah Pearse – For isolated settings and class dynamics
- Mexican Gothic by Silvia Moreno-Garcia – For folklore elements in contemporary settings
- The Thursday Murder Club by Richard Osman – For ensemble cast and hidden secrets
About the Author
Mary Watson, originally from South Africa and now residing on Ireland’s west coast, brings a unique perspective to her exploration of immigration and belonging. Her background as a Caine Prize winner and Africa39 honoree demonstrates her literary credentials, while her experience teaching at the University of Cape Town informs her nuanced understanding of power dynamics and social hierarchies. The Cleaner by Mary Watson represents her first foray into adult fiction for international audiences, building on her established reputation in young adult literature.