For the last 10 years, Catharine West has worked hard to build the life she wants. She has a great career. She is young, fit and attractive. She has friends and no shortage of male attention. She is smart and (mostly) in control. But the darkness of her past is just below the surface, and she is sometimes exhausted by what can feel like a charade. When she gets a message from Reese Campbell, a journalist writing about a cult in Florida, that control may give way to the darkness once and for all. 

Olivia Muenter’s second novel, following SUCH A BAD INFLUENCE, is the story of Catharine’s past and how she can’t outrun it in the present. It’s also about the ways in which people on the outside of a tragedy can turn the pain of others into a spectacle or commodify it.

"This page-turner shows the promise of an emerging novelist and taps into our obsession with true crime and cults, while still offering the often-overlooked perspective of those on the inside."

Catharine was raised on a summer camp turned farm by her parents. Her father was the typical charismatic leader with a vision for a perfect community and world. If only everyone would obey him and follow his rules. He did, indeed, attract several people who were interested in the promise of a healthy and peaceful lifestyle. Over time, though, many of them drifted away, disappeared or died. By the time Catharine was a teen, the farm was being run by a small group that included her parents; her stepsister, Linna; and a handful of other teens and women. Her father’s rules became increasingly dangerous as he restricted food for everyone but himself.

As Catharine and Linna began to see some opportunities for freedom, if not escape, things took a turn for the worse. Catharine was left with very few options and had to make terrible choices. Muenter moves between the past and the present chapter by chapter, but always from Catharine’s point of view. As the novel progresses, her motivations in talking to Reese, and her reasons for withholding the truth, become more obvious. There are some surprises in these short chapters, even if they’re not completely unexpected.

These are hard characters to get to know. Catharine’s protective toughness extends to readers. Her father’s beliefs and theology are never fully explained, and his charm and persuasion aren’t clearly shown. Still, Muenter has crafted a story about both the psychological effects of abuse and high control groups and how the media’s producers and consumers clamor for tales of hurt and destruction. Some interesting ideas about the wellness industry are presented, but perhaps they aren’t as fully realized as they could’ve been. Catharine is compelling, if not likable, as she struggles to differentiate herself from her father. Readers are left having to decide if she succeeds.

Muenter’s ambitious narrative is dark, but her writing style is easy. Despite the themes and action, LITTLE ONE is a quick read. This page-turner shows the promise of an emerging novelist and taps into our obsession with true crime and cults, while still offering the often-overlooked perspective of those on the inside.