The Murder Room (James, Pd) (Hardcover)

Dr Neville Dupayne, one of the three trustees of the museum, it being passed on to him and his brother and sister upon the death of their father, is found dead in a burning car near the museum, in a scenario exactly mirroring one of the cases featured in the bizarre Murder Room. And there is no lack of people with a motive, for the Dupayne is coming up for renewal of it's lease which, under the conditions of their late father's will, must be signed by all three trustees or become void, and Neville is the only one who refuses to sign. Yet there are several people whose futures have a strong stake in the future and continued running of the museum...

Then, mere days later, another body is found, once again killed in an identical manner to one of the cases from the Murder Room...

Perhaps not quite James's strongest novel, this is still a very good book, and will undoubtedly follow on the immense success of her last, Death in Holy Orders. As a novel, it is traditional in its form, but with James that means nothing, certainly not that you are in for anything like a "cosy" mystery. Content within the boundaries of the genre, she finds those limits not limiting at all, instead using them as foundations and support for an incredibly worthy novel that tells us much about the human condition and the society we, in England at least, live in. It is impeccably written (of course), socially interesting, with a strong sense of morality, and I doubt that there is a writer at work today who can more subtly but fully evoke a setting. Too, the eerie nostalgia of the museum itself is mirrored beautifully in both the story and the narrative prose itself.

Her characters are incredibly strong, they slink from the page fully-formed and ready for our judgement. They range from the sympathetic to the cold, from calculating to warm. Never are any of them less than human.

In the end, she presents a solution that is very satisfying not for that it is a bolt form the blue, but for that it is entirely sensible. She has you working out complicated solutions to the mystery, then presents you with an entirely plausible one that you never really even considerd, which is an admirable trait indeed in a world of fiction that is far too full of gratuitous unreality.

One morning, by chance, Commander Dalgliesh has opportunity to visit the Dupayne, a small private museum on the edge of Hampstead Heath. It deals with the inter-war years, 1918-1939, and its most renowned exhibition is The Murder Room, a display of artefacts and information on the most notorious murder cases of the day. However, within a week Dalgliesh will have cause to return to the Dupayne, but not for recreational purposes this time. This time, he will be investigating a brutal murder.

Dr Neville Dupayne, one of the three trustees of the museum, it being passed on to him and his brother and sister upon the death of their father, is found dead in a burning car near the museum, in a scenario exactly mirroring one of the cases featured in the bizarre Murder Room. And there is no lack of people with a motive, for the Dupayne is coming up for renewal of it's lease which, under the conditions of their late father's will, must be signed by all three trustees or will become void, and Neville is the only one who refuses to sign. Yet there are several people whose futures have a strong stake in the future and continued running of the museum...

Then, mere days later, another body is found, once again killed in an identical manner to one of the cases from the Murder Room...

Perhaps not quite James's strongest novel, this is still a very good book, and will undoubtedly follow on the immense success of her last, Death in Holy Orders. As a novel, it is traditional in its form, but with James that means nothing, certainly not that you are in for anything like a "cosy" mystery. Content within the boundaries of the genre, she finds those limits not limiting at all, instead using them as foundations and support for an incredibly worthy novel that tells us much about the human condition and the society we, in England at least, live in. It is impeccably written (of course), socially interesting, with a strikingly strong sense of morality, and I doubt that there is a writer at work today who can more subtly but fully evoke a setting. Too, the eerie nostalgia of the museum itself is mirrored beautifully in both the story and the narrative prose itself.

Her characters are incredibly strong and she draws them with almost astonishing subtlety; they slink from the page fully-formed and ready for our judgement. They range from the sympathetic to the cold, from calculating to warm. Never are any of them less than human.

The Murder Room doesn't quite dazzle with brilliance like novels by Ruth Rendell, Peter Robinson, or even some of James' other books, but it is still an outstanding example of its genre, and it certainly proves that only British novelists can write perfectly about Britain. It leaves foreign imitators languishing by the wayside. It's an intelligent, very literate book which should please all her fans and lovers of such novels. In the end, she presents a solution that is very satisfying not for that it is a bolt from the blue, but for that it is entirely sensible. She has you working out complicated solutions to the mystery, then presents you with an entirely plausible one that you never really even considered, which is an admirable trait indeed in a world of fiction that is far too full of gratuitous unreality.