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I'm fairly sure I can spot at least some of the areas where Sayers leaves off and Patton Walsh takes over (DLS didn't have to work so hard to be 'period' for example - she just was!) but it was so delightful to have Peter Wimsey and Harriet Vane alive once more.
A word of warning, however... whilst deeply engrossed in this book I've missed my stop on the tube a couple of times and managed to get on completely the wrong train and ended up miles from home (not a common occurance) still, at least I had the book for company!
I found Harriet Vane on the whole slightly better drawn than Peter Wimsey. Her growing confidence in her new persona as 'her Ladyship', her ever present sense of fun and essential decency are all very credible. They also represent a convincing progression from the troubled soul of Strong Poison and Have His Carcase and then her more mellow moods in Gaudy Night and Busman's Honeymoon. Peter Wimsey is at once too stuffy (in his reaction at Bunter's momentous decision and his disapproval of the new King for instance) and too socially in advance of his times for plausability. But Wimsey did evolve under Sayer's pen, from a rather superifical dilettante to a more thoughtful and complex character. And who can blame Paton Walsh for having a little fun with one of his ex-mistresses or a less than respectful jobbing actor ? As to the plot, this is worked through most competently and entertainingly, with suitably dramatic and sinister moments which involve exploring a tributary of the Thames and an unfortunate dog.
It is only to be hoped that the little précis of events in the Wimsey households during the war years, at the end of the book, is not an indication that Paton Walsh does not intend to write them up as further novels. The short paragraphs are a tantalising tasters of what could make several novels between The Haunted Policeman and Talboys, where the Wimseys appeared for the last time under Sayers's pen.
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