Requiem in Vienna, the second in Mr. Jones' Viennese Mystery series, shows once again the same thorough, historical grounding of fin de siecle Vienna. He shows a surer grasp of his characters, which is natural since he, too, is getting to know them better. Gross' ego and self confidence contrasts nicely with Werthen's lack of experience in the investigation game. Werthen and his wife Berthe are evolving as well, showing a more complex dynamic in their relationship. The cast of notables appear in a very logical way. The famous are not just forced into a scene. To us, especially Americans, the historical figures of the Vienna of the day are pretty much unknown. So it is good to learn of Alma Mahler, whose own history is better than fiction, and of Karl Kraus, who just about single handedly wrote his literary newletter, Die Fackel/The Torch for thirty years and comes across as a delightful combination of Mark Twain and San Francisco's Herb Caen. Kraus, especially, should be able to pop up in succeeding stories since he seems to have his finger on the pulse of society. Sorting out which character is historical and learning a bit more of them is most enjoyable and gives an added bonus to the story. The mystery itself (which does its job of keeping us guessing until the end) gives the author opportunity to throw in some wonderful historical tid-bits such as Brahms' musical coding, the inner workings of the Opera of the time, the last days of Johanne Strauss. A lot of serious research was done for this. For "Vienna-philes" it's another journey back to a lost world. Hopefully, there will be more.