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by Martha Grimes
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From Publishers Weekly
For Richard Jury, the death of his cousin—apparently his one link to his childhood—generates "an emptiness that he hadn't seen coming" and supplies an existential, melancholic subtext to this 19th outing for the New Scotland Yard detective (after 2002's The Grave Maurice). Bestseller Grimes's finely written, if at times baffling, novel is propelled by an unthinkably horrific crime: an unidentified five-year-old girl is shot dead in a London street. Her autopsy reveals sexual abuse and leads to a London pedophile ring. The girl may be connected to Flora, the abducted child of a particularly loathsome businessman, Viktor Baumann. Three years earlier, during a nasty custody battle with Baumann's ex-wife, four-year-old Flora was kidnapped near her home in Devon. When the unidentified body of a woman turns up on the estate of Flora's putative stepfather, Declan Scott, the convoluted plot begins to come together. Fans will welcome the appearance of Jury's gaggle of humorously eccentric friends and neighbors, including Melrose Plant, who goes undercover as a gardener to ferret out information. In the end, Grimes fails to connect the dots as well as she might have, but that won't prevent this engaging novel from hitting lots of bestseller lists.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to an out of print or unavailable edition of this title.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to an out of print or unavailable edition of this title.
From AudioFile
Grimes's latest Richard Jury mystery continues her long-standing series with the familiar figures of Jury and his friend, Melrose Plant. Sleuthing between Cornwall and London, Jury tries to link the disappearance and deaths of very young girls. Paul Hecht is a gifted narrator, offering a confidant, articulate performance of Cornwall gardeners, London businessmen, and country squires. But something's missing--perhaps it's the mostly subtle British accents and light characterizations. Grimes plays her characters to the hilt, yet Hecht seems to hold back, so the vocal portraits seem a little lackluster. The abridgment is good for the most part, but the ending seems to dissipate after a strong and intriguing build-up. R.F.W. © AudioFile 2004, Portland, Maine-- Copyright © AudioFile, Portland, Maine
--This text refers to an out of print or unavailable edition of this title.
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