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Synopsis
This is a new case for husband-and-wife team Patrick Gillard and Ingrid Langley. When DCI Derek Harmsworth is killed in a car crash, DI John Gray, known to be a bit of a maverick, is convinced that Harmsworth was silenced because he was investigating the violent murder of MP Jason Giddings. When Gray himself is murdered, surely those in power will acknowledge that someone doesn't want the truth to come out. Patrick Gillard, ex-MI5 and now SOCA, and his consultant (and wife) Ingrid Langley are brought in to assess further risks to the police. They discover that DS Erin Melrose is determined to make it her personal crusade to find the killers of her bosses, Harmsworth and Gray, and it is a mission that will put her - and others - in grave danger...
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Customer Reviews
Most Helpful Customer Reviews
Format:Hardcover
I couldn't work out whether the story was taking place in 2005 or 1955. The police were idiots or thugs or both, the language rather agatha christie and state of the art forensic science had completely passed by this part of England. Just as I decided it must be 1955 somebody would use their mobile phone............all very frustrating. Not for me.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
1 review
2 of 2 people found the following review helpful
over-arching narration
20 Mar 2008
Format:Hardcover
I wanted to love this book. Indeed, I started to love this book. The narrator is a writer married to a semi-SAS thug with a heart of gold and they investigate things together. She's brave and accomplished; he depends on her and doesn't patronize. The woman often saves the man and no one makes a fuss about it.
Blissful.
Sadly, Duffy didn't leave a good idea alone. Not only is Ingrid, the narrating author/adventurer, a great shot with a steady hand in all crises, but she is arch. Very arch. Over-arch. She never simply narrates. She tosses in cute parentheticals and tosses off snarky throw-aways and makes digressions out of laundry lists.
Here's a one-sentence example. Ingrid is going to rescue Patrick in a dark basement full of gas and screaming. It's an ACTION sequence, and we are told:
"When the man she loves is being tortured and someone who is directly or indirectly responsible then lays hands on her and hurts her badly, a woman really can stab whoever it is with a real desire to kill." (180)
And that would be "whomever," wouldn't it? I mean, if we are going all la-te-da off our cuffs, up our sleeves?
OK, for the first 100 pages or so, I was charmed. But as the stakes rise, Ingrid becomes more and more rhetorically coy. And the solutions aren't any less artificial than the tone. Ingrid and Patrick always eat dinner in the right place. The homeless person they ask always has the answer they seek. A walk in the woods always yields case-breaking evidence. The bad guys are all obligingly stupid.
This might have been more palatable as a period-piece. In a sort of wink's-as-good-as-a-nod Nick and Nora or Harriet and Peter world, I don't think the hoards of coincidence would have grated so. And the tone might have fallen less cloyingly on the ear.
Yes, there is lots of action, believable or not. If you are feeling particularly full of the willingness of suspended disbelief, give this a try. Otherwise, wait for the next Deborah Crombie.
Blissful.
Sadly, Duffy didn't leave a good idea alone. Not only is Ingrid, the narrating author/adventurer, a great shot with a steady hand in all crises, but she is arch. Very arch. Over-arch. She never simply narrates. She tosses in cute parentheticals and tosses off snarky throw-aways and makes digressions out of laundry lists.
Here's a one-sentence example. Ingrid is going to rescue Patrick in a dark basement full of gas and screaming. It's an ACTION sequence, and we are told:
"When the man she loves is being tortured and someone who is directly or indirectly responsible then lays hands on her and hurts her badly, a woman really can stab whoever it is with a real desire to kill." (180)
And that would be "whomever," wouldn't it? I mean, if we are going all la-te-da off our cuffs, up our sleeves?
OK, for the first 100 pages or so, I was charmed. But as the stakes rise, Ingrid becomes more and more rhetorically coy. And the solutions aren't any less artificial than the tone. Ingrid and Patrick always eat dinner in the right place. The homeless person they ask always has the answer they seek. A walk in the woods always yields case-breaking evidence. The bad guys are all obligingly stupid.
This might have been more palatable as a period-piece. In a sort of wink's-as-good-as-a-nod Nick and Nora or Harriet and Peter world, I don't think the hoards of coincidence would have grated so. And the tone might have fallen less cloyingly on the ear.
Yes, there is lots of action, believable or not. If you are feeling particularly full of the willingness of suspended disbelief, give this a try. Otherwise, wait for the next Deborah Crombie.
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