I’ve always loved books where something in the past of the main storyline surges into its present, demanding that an old wrong be righted or an old mystery solved. It’s why my first degree was in Social and Political Sciences (Psychology major) instead of English Literature or Creative Writing: I knew that learning how to writewould be useless if I didn’t understand the things I wanted to write about. The role of the past in shaping our present – our behaviours, sense of self, relationships – is endlessly fascinating, and stories that unpick this are often the ones that surprise me the most with their insight into the human condition.
Written and set in the 1950s, this is the 4th in the Felse detective series.
Peters is more famous for the Cadfael mysteries, with their wonderful depiction of England at the time of the civil war between Stephen and Maud. However, the Cadfael books need to be read in order and the first is far more successful in the BBC adaptation.
Dated in some ways, and with prose that’s functional rather than beautiful, Peters has a brilliant eye for capturing a period. The clever trail of clues means it’s possible to work out the mystery so the reveal is satisfying and doesn’t cheat the reader.
If you like Agatha Christie’s Murder on the Orient Express (the 1974 film is dated but still brilliant), you’ll probably enjoy this too.
In a derelict seashore graveyard a mystery unfolds, a trail of violence in Maymouth's history which casts long shadows. Permission is granted to open the tombs of a loving couple, Jan and Morwenna Treverra, buried centuries ago and given touching epitaphs. But there are recent remains in there - buried long after the couple died - and the whole community, young and old, is involved in this case.
Tey spins a great yarn about how the past keeps its claws in us, whether it’s unravelling a historic mystery (in this case the Princes in the Tower) or uncovering the truth about a past crime because of a present one (as in my favourite Tey, Brat Farrar, which unfortunately has a cousin-romance storyline that isn’t terrible palatable, though easy to ignore).
Daughter of Time takes an incisive look at how the evidence we pick, put together, and ignore changes the story we tell about real events; interpretation is an art, not a science, and socio-political pressures – and powerful individual characters – have shaped history as we know it. Nicola Upson’s An Expert in Murder, which features Tey as a character, is on my TBR pile.
_________________________ Josephine Tey's classic novel about Richard III, the hunchback king whose skeleton was famously discovered in a council car park, investigates his role in the death of his nephews, the princes in the Tower, and his own death at the Battle of Bosworth.
Richard III reigned for only two years, and for centuries he was villified as the hunch-backed wicked uncle, murderer of the princes in the Tower. Josephine Tey's novel The Daughter of Time is an investigation into the real facts behind the last Plantagenet king's reign, and an attempt to right what many believe to be the…
It’s a rare book indeed where there’s a twist with such profound implications that it throws the story off in a completely new direction and draws back the curtain to show everything that’s come before isn’t what it seemed.
It’s hard enough to pull that off in an ending, but to pull it off at the mid-point is as rare as it is wonderful to read. Rebecca (and Brat Farrar) are two of the only examples I know where it’s done successfully. Most authors who try to accomplish this focus on deceiving the reader – the best writers focus on misleading them so the reveal feels true and inevitable, rather than merely surprising (and often a bit cheat-y).
The Hitchcock film is dated but brilliant, despite Fontaine’s lackluster performance.
* 'The greatest psychological thriller of all time' ERIN KELLY * 'One of the most influential novels of the twentieth century' SARAH WATERS * 'It's the book every writer wishes they'd written' CLARE MACKINTOSH
'Last night I dreamt I went to Manderley again . . .'
Working as a lady's companion, our heroine's outlook is bleak until, on a trip to the south of France, she meets a handsome widower whose proposal takes her by surprise. She accepts but, whisked from glamorous Monte Carlo to brooding Manderley, the new Mrs de Winter finds Max a changed man. And the memory…
The ‘crime’ in Animal Dreams is a legal technicality, and this is a literary contemporary novel rather than a crime one, but its narrative drive comes from the same need to untangle the past to set the characters free (or as free as they can be) in the present.
The writing is glorious – rich, deep, surprising, layered – reaching levels of technical mastery that few other writers even glimpse. There are several point-of-view characters and, unlike most books with this structure, Kingsolver wrings every last drop of drama and interest from the nuances this offers.
Instead of longing to get back to a preferred perspective, the reader revels in how vivid, how real, each character feels in turn. If you love LP Hartley’s The Go-Between, you’ll probably adore this.
Set in the southwestern mining town of Grace, Arizona, this novel revolves around Codi, her sister Hallie and their severe and distant father, Doc Homer. The author has previously written "The Bean Trees" and "Homeland", the latter a collection of short stories.
Vivid, surprising, and psychologically astute, The Wicked Girls stands out among a plethora of books with a similar premise.
There are no easy answers or pat solutions here. This is a book that asks interesting questions and offers a range of answers, through the characters, for readers to ponder. On the police procedural side, Kate Atkinson’s Case Histories treads a similar line, but Marwood’s protagonist is a journalist, which offers a less common ‘way in’ to the investigation along with a less familiar set of challenges. [If you love Children’s fiction, check out the phenomenal Diana Wynne Jones’ Eight Days of Luke to match this theme (then, if you love it, Charmed Life and Howl’s Moving Castle), plus Jenny Nimmo’s The Rinaldi Ring and Berlie Doherty’s White Peak Farm.]
“The suspense keeps the pages flying, but what sets this one apart is the palpable sense of onrushing doom.” —Stephen King, “The Best Books I Read This Year”
The Edgar Award-winning psychological thriller that asks the question: how well can you truly know anyone?
On a fateful summer morning in 1986, two eleven-year-old girls meet for the first time. By the end of the day, they will both be charged with murder. Twenty-five years later, journalist Kirsty Lindsay is reporting on a series of sickening attacks on young female tourists in a seaside vacation town when her investigation leads her…
When Sally kills her husband with a cast-iron skillet, she’s more fearful of losing her kids than disposing of a fresh corpse. That just wouldn’t be fair—not after twenty years married to a truly terrible man. But Sally isn’t the only woman in town reaching the brink. Soon, Sally has formed an extremely unusual self-help group, and between them there are four bodies to hide. Can they all figure out the perfect way to bury their husbands?
A story about female solidarity combining the revenge streak of Bella Mackie’s How to Kill Your Family (Borough Press) with the dark humour of Death Becomes Her and the fierce friendship of Netflix’s Dead to Me.
My book is fantastical historical fiction about two characters who're wrestling with the monstrosity of their grief.
It takes you into London high society, where Ambrose tries to forget about how much he misses Bennett and how much he dreads becoming as cold as their Grandfather. It takes you to the family's country manor house, where Mattie isolates and old ghosts start to come out of the woodwork.
It's a story about loss and depression; it's a story about friends who don't let you walk through the valley of death alone.
Ambrose Bancroft returns to London society with his younger sister, hoping they'll leave ghosts of memory behind. They have only each other left. While Ambrose attempts to draw Mattie out, dragging her to balls and threatening to seek suitors for her, his sister recoils from his meddling. Finally, when Ambrose compels her to attend art class before she's ready, Mattie paints something horrific enough to banish them from society in public disgrace.
At Linwood Manor, Mattie and Ambrose aren't as alone as they think. Taking advantage of Mattie's desperate need to find freedom, a vanishing room lures Ambrose's sister into…
