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As usual, Plant's world of eccentric friends and relatives is nicely evoked in a subplot that leads him on a surprising holiday in Florence, during which he acquires just enough knowledge of Italian Renaissance painting to pull off another disguise on Jury's behalf. Grimes weaves the threads of this rich tapestry together in a surprise ending that not even Grimes aficionados will sense coming. But it's an appropriate conclusion, given the book's brooding tone, established in the opening pages by a dying friend's obsession and sustained as the investigation forces Jury to confront his own haunted memories of the war. This is a solid page turner, marked by Grimes's unerring sense of pacing, respectful but provocative poking around in Jury's soul, and topnotch storytelling ability. --Jane Adams
Copyright 2001 Cahners Business Information, Inc.
For those who don't know, this particular story is involved with solving 3 mysteries to start with:
- Is the woman calling herself Maisie Tyndale the true heir to the Tyndale fortune, or was the true Maisie killed along with her mother back in a backing in WWII? If it isn't Maisie, did the nanny slip her own infant daughter into Maisie's place?
- Who killed Simon Croft? Was it someone in the closer-than-kin Tyndale family who is threatened by his research of WWII for his book?
- Is Trueblood's panel a Massachio? (No, honestly, this takes quite a bit of time.)
As usual, Grimes raises alot of red herrings and other mysteries before winding down to a close. But in her surprise ending she asks of the audience the same questions that she's been asking of her characters throughout the book. It's enough to drive a mystery fan nuts but also to leave you awed by Grimes' nerve. While everyone who loves her would love for her to keep cranking out the Jury-and-Plant song-and-dance routine, Grimes does no such thing...
Just how old is he, anyway? By my reckoning, if he was a child in the early 1940's and old enough for some fairly... Read more