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Every Breath You Take (Laura Principal novels)
 
 

Every Breath You Take (Laura Principal novels) (Paperback)

by Michelle Spring (Author) "I only drive fast when I am not in a hurry ..." (more)
1.0 out of 5 stars  See all reviews (1 customer review)

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Product details

  • Paperback: 288 pages
  • Publisher: Orion; New edition edition (7 Dec 1998)
  • Language English
  • ISBN-10: 0752825755
  • ISBN-13: 978-0752825755
  • Product Dimensions: 17.4 x 11.2 x 2.2 cm
  • Average Customer Review: 1.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon.co.uk Sales Rank: 687,299 in Books (See Bestsellers in Books)

Product Description

Review

Every Breath You Take is Spring's first novel. It is a stunning debut introducing the heroine/narrator Laura Principal, a Cambridge historian turned private investigator in an intelligent, pacy murder-mystery. There are already three follow-up adventures in print, testifying to the quality of Spring's crisp, descriptive prose which seizes the reader from the first sentence. The action is divided between three main locations; London where Laura's lover and business partner Sonny is based, Cambridge where her best friend, lecturer Helen lives, and the cottage in Norfolk, Wildfell, which she and Helen share as a home from home. The cottage is the pivot for the action, following the violent death of a new housemate who might have become a good friend. The varied business and professional relationships associated with each venue are convincingly and sensitively detailed and sexual politics and geography are just as central to the plot as the obligatory red herrings and minor cases cleared up during the course of the novel. Spring demonstrates a genuine flair for emotional nuance and ambivalence, and it's only as the mystery finally resolves that their significance becomes clear. (Kirkus UK)

London p.i. Laura Principal's plan to take a third housemate for Wildfell Cottage, the country house she shares with librarian Helen Cochrane, comes to grief when Monica Harcourt, the haunted painter she and Helen are ready to take on, is killed (stabbed, strangled, hammered) in her Cambridge flat. Grabbing spare hours from the two cases she's getting paid for - both unrelated but neatly worked out - Laura digs into Monica's life and soon finds unexpected involvements with a sleazy college provost, who asks special favors in return for approving grant proposals, and a fiery anti-abortion M.P. Monica caught practically with his pants down. Be warned: the real killer is so well hidden as to be practically invisible. Already in her first novel, pseudonymous British academic Spring (sociology/Anglia Polytechnic) is a dab hand at teasing the most plausible suspects out of the woodwork. The prevailing mode is British - deft, unblinking, understated - but never too intoxicated with its own literacy. (Kirkus Reviews)


Product Description

1st in a series of crime novels feauturing private eye Laura Principal. Laura and Helen share a weekend retreat in Norfolk and are reluctant to disturb the close friendship and sense of security they have enjoyed for many years. So when Helen suggests inviting the eager to please but unconventional Monica to share the cottage, Laura is uneasy. Then Monica is brutally murdered, and Laura finds herself drawn into an investigation which puts her own life in danger. As she unravels the secrets of Monica's life, the killer gets closer and closer and when Laura uncovers the final mystery, she realises that it is not only her own life that is threatened.

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I only drive fast when I am not in a hurry. Read the first page
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3 of 5 people found the following review helpful:
1.0 out of 5 stars Started off really well..., 18 Feb 2003
This book has got a lot, Michelle Spring is a good writer and knows how to make you turn the page, even at that tricky stage at the beginning of a series where she's got to introduce her main characters for the first time, Laura Principal, academic turned historian is likeable and pleasingly human, the relationship between Laura and Helen the co-owners of the cottage who need someone to help them with the costs is very convincing. Then Laura finds her new housemate brutally murdered and the story really kicks off.

But the problem is -all stories of this type where you've got what's basically an amateur, whether or not they're a private detective, who manage to do what the police don't and solve the crime depend on a mixture of really good story telling and the ability to make the reader suspend their disbelief that this or that could really happen, the police chief in charge could really be that stupid, that perhaps there has been one co-incidence too many, but if the writer makes an obvious error the whole narrative structure collapses and the reader starts questioning everything. This is what happened when Laura gets her gun out of the back of her car. According to the author notes Michelle Spring isn't British by birth but she's lived in England for many years so surely she must know something about our gun laws and realises that there is no way Laura would carry a handgun in the back of her car. After that I started seeing every single implausibility in the story (and of course there are some, there always are in crime novels) which was a shame because it had been really good up until then and the gun didn't even play a vital role. I'm not sure if I'll be reading the next one.

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