Marilyn's Mystery Reads

Archive for April, 2011

Arabella Beatrice, known to her younger sister Tess as Bee, narrates the novel.  Bee is in London, helping to search for Tess who has been missing for four days.  Bee has transplanted herself to New York City, is a successful career woman with an equally successful fiancee.  Tess is an art student who has become pregnant by her university art tutor, a married man who quickly told her that he’d have nothing to do with the baby.  Undeterred, Tess is still thrilled by her pregnancy, worried only by the fact that their brother Leon died in childhood from cystic fibrosis, and tests have diagnosed her expected child with the same fatal disease.

Luckily, or so it seems at the time, a local hospital is trying out a new drug to cure the disease in utero. But Tess’s pregnancy ends three weeks earlier than it should have, and her infant son is stillborn.  That’s when she disappears.

Frantic with guilt because she hadn’t returned Tess’s phone calls on the day of the baby’s birth and death, Bee flies to London to help in the search.  But when Tess’s body is found in an abandoned public restroom in a park, the police, the media, and even Bee and Tess’s mother believes that postpartum depression had caused Tess to commit suicide.  And the few loose ends that Bee uncovers do nothing to convince them otherwise.

Bee cannot believe her sister killed herself. She points to Tess’s excited e-mails, the baby clothes she bought, her making Bee promise to come to London to be her doula during the birth.  The police point to her lack of resources, the baby’s death, her single session with a psychiatrist who diagnosed her depression, and her possible drug use.  Neither side can convince the other.

When Bee finds out that the women in the CF tests have been paid three hundred pounds each to participate, and that the doctor in charge is denying those payments, she’s sure that there’s an institutional coverup.  But with each claim that she makes to the police, Bee looks more and more unreliable.  She’s accused Tess’s lover, another art student who obsessively followed Tess around with his camera, and now Tess’s physician of being involved in Tess’s death.

Bee is constantly talking to Tess throughout the novel, telling her about the upcoming television re-enactment of the crime in the hope of finding a witness to the murder, her interviews with an attorney who is helping her prepare for the upcoming trial of the murderer, trying to expurgate her guilt for being too busy on the day that Tess kept trying to reach her in New York.  If only she had taken Tess’s call that morning instead of going into a meeting with her boss, if only she and her fiancee hadn’t taken a spontaneous weekend trip to a cabin where there was no landline and no cell service, if only….But the only way to help Tess now, Bee believes, is to convince the police that she was murdered and force them to find her killer.

Rosamund Lupton’s debut novel is an engrossing page-turner. There is a strong sense of love between the sisters, even given their different lifestyles and personalities.  Characters change in the book, and seemingly minor characters at the beginning take on important roles as the book progresses.  And Bee’s mother and fiancee show their true personalities as Bee’s determination grows.

You can read more about Rosamund Lupton at her web site.

31 Bond Street by Ellen Horan takes the reader back in time to tell a story of deception, murder, and the law.  Based on an actual case that was a cause celebre at the time, 31 Bond Street is a look into the lives of a small group of people, all of whom are touched and/or changed by the murder of Dr. Harvey Burdell.

Emma Cunningham is a widow with two teenage daughters, and she is fast running out of the funds left to her by her late husband.  A woman of slightly tarnished virtue, Emma meets Harvey Burdell, a middle-aged dentist visiting Saratoga Springs, New York, and accepts his offer of a position as his housemistress in Manhattan, along with his promise of an upcoming engagement to be followed quickly by marriage.  Seeing this as the best opportunity available to her, and seeing his home as a meeting place for her daughters’ future suitors, Emma agrees to his proposal and moves her small family into Dr. Burdell’s house.

At the same time, Burdell persuades Emma to give him $10,000, a significant part of her older daughter’s dowry, to purchase a plot of marshland in New Jersey.  He’s convinced that he will be able to sell this plot, which ajoins one of his own, for a huge profit.  Eager for the money and reluctant to tell him how little savings she actually has, Emma buys the property and hides the deed in her bedroom in Burdell’s house.

But the dentist’s behavior becomes stranger and stranger, with days passing when he doesn’t return home. His business opportunities seem never-ending, and then comes the day that Emma sees him enter a hotel with another woman.  She rushes back to his house, convinced he means to cheat her out of the New Jersey property, but her ever-more-frenzied search of her room doesn’t turn up the precious deed.  Furious, she confronts Burdell when he returns; he ignores her and leaves again, and the next morning he is found in his bedroom with his throat cut.

Although we find out in the opening chapter that Dr. Burdell is dead, the timeline isn’t a straight one, and bit by bit we learn about Emma’s past and how it has influenced the choices that brought her to her cell in The Tombs, New York City’s infamous prison. The book’s chapters alternate between Emma’s story and that of her attorney, Henry Clinton, who gets involved after Emma is arrested by a power-hungry coroner and the district attorney who is planning to run for mayor.  There is deep insight into the lives of the book’s characters, many of whom are based on the actual characters involved–the house servants, the mother and her daughters, the very disagreeable Harvey Burdell, and the defense attorney who puts his livelihood at risk in defending his client.

Slavery, abolition, the looming break between the North and the South, and women’s rights (or lack thereof) all feature prominently in the novel.  And all have an impact of the story of Emma Cunningham.

The epilogue tells the story of what happened to the “real” people involved in the case. I found all the characters in the novel so credible that I was amazed to find out that some of them were the creation of the author.  The sense of place in 31 Bond Street is palpable, so much so that the reader may well look up from a page and be astonished at the sound of a car passing by or by the electric light next to her reading chair.

You can read an interview with Ellen Horan at http://redladysreadingroom-redlady.blogspot.com/2011/03/guest-post-with-ellen-horan-author-of.html.

The March 30/April 4 combined double issue of Newsweek has an opinion piece by Susan Cheever entitled “Please Stop Writing!”

I can totally identify with her opening sentence, “Mysteries are my weakness.” Me too, Ms. Cheever.  Sometimes I’m a bit embarrassed when checking out books at my local library–I’ll have three or four mysteries novels in one hand and a couple of mysteries on cds in the other.  I want to say to the librarians, all of whom I know quite well, “I do read other things, you know.”  I’ve even thought about taking out Plato’s Republic or Carl Sandburg’s Lincoln biographies to impress them, but I know I’d return those books unread.

Ms. Cheever’s point is that after a number of mysteries in a series, which she arbitrarily notes as eight, authors tend to run out of ideas.  Or the ideas they have are not so very good any longer.

I’m not sure that there should be an arbitrary number at which an author must automatically stop writing about a specific character, but I do agree that as time goes by it apparently gets more difficult to write new situations for the protagonist.  This relates to a previous About Marilyn column (November 4, 2010), “How To Get Rid of An Unwanted Love Interest.”   A detective meets and falls in love with a beautiful woman (as I noted in that column, this is almost always a male issue).  They begin a relationship, or even get married, and after a number of books the author feels the need for a new romantic interest.  So he/she bumps the woman off.  There is much sobbing, gnashing of teeth, grief, but the detective is free to find another woman and begin all over again.

So there the author has recognized that the detective’s romance is in need of updating to keep the series fresh. But that same author doesn’t see the same problem with his hero.  The hero, as Ms. Cheever says, may also be past his sell-by date, but he keeps on solving crimes.  Although I was a huge Robert B. Parker fan from the beginning, I feel that after Looking for Rachel Wallace, Spenser was finished.  All the clever repartee had been said, and in spite of myself I kept visualizing a 70-plus Spenser saying his naughty words to a 60-plus Susan Silverman.  It just didn’t work for me.

So although I doubt many mystery writers are sitting home, breathlessly awaiting my latest About Marilyn column, just in case one is….Think hard about whether your hero/heroine may be ready to be retired. That doesn’t mean you need to retire; there’s always the opportunity to write a new series with a lead character totally different from the one who made you famous.  It’s worth a try.

Marilyn

Francis (Frank) Hancock, third generation undertaker, is still reeling from his years in the trenches of The War To End All Wars. Except it didn’t, as the Luftwaffe’s bombings clearly show at the beginning of World War II.  Unlike most of the other East Enders, including his mother and sisters, Frank can’t be persuaded to go into the Anderson, the bunker-like corrugated steel paneled structure provided by the government outside his home.  Instead, Frank runs through the streets of his neighborhood during every air raid, recognized by his bemused neighbors as “the Morgue’s son,” until the bombing is over.

On one such night, Frank comes upon a man clawing at his chest and screaming that he has been stabbed.  Frank tries to stop him, not believing him, but the man curses and runs away.  But his body turns up at Frank’s undertaking parlor two days later.  The man turns out to have been a local tough named Kevin Dooley, with a vicious mother who is about to turn Kevin’s widow and her daughter out on the streets.

Although Pearl Dooley, Kevin’s widow, was abused by her late husband, she insists to Frank that she still loved him.  And maybe she did, Frank thinks.  Who knows what goes on between a man and his wife?  But the Dooley family, headed by Kevin’s mother, doesn’t want anything to do with Pearl, and when Frank tells the coroner that Kevin had told him he was stabbed, a further investigation proves that he indeed died from being stabbed with something long and thin put directly into his heart.

Even though Frank believes he did the right thing by telling the coroner that this might have been a murder rather than a result of the bombing, the undertaker is upset when Pearl Dooley is arrested for the crime. Given her family history, with a mother who had been hanged as a murderess, things don’t look good for Pearl.  And when Frank finds Pearl’s sister Ruby, whose own boyfriend has just died under suspicious circumstances, it simply adds more weight to the idea of “bad blood.”

Frank Hancock is a man who is still reliving his time in the trenches of Flanders. He’s an outsider in homogeneous England, having a white father and an Indian mother.  He’s a man who runs wildly and stutters during air raids.  He’s a man still dealing with his guilt at having killed German soldiers during the first World War, even though they were the enemy.

The characters created by Barbara Nadel are incredibly real. Frank’s sister Aggie has been left by her husband when he ran off with her best friend, and she dresses too provocatively for her sister Nan’s repressed tastes.  Fred, the neighborhood bobby, simply wants to clear the murder case without having to do much work in order to do so.  Pearl, Ruby, and the two other sisters of the dysfunctional Reynolds family have never recovered from their traumatic childhood and live in fear that someone is trying to get revenge for the killing more than twenty years earlier of their mother’s lover.  Or perhaps it would be more accurate to say one of their mother’s lovers, as each of her four daughters had a different father.  For its insights into war-torn London and its citizens’ psyches, Last Rights is a book to read.

You can read more about Barbara Nadel at http://www.twbooks.co.uk/authors/barbaranadel.html.