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Fearing for status ahead of what's right.
on October 28, 2014
My second historic sojourn with <b>Anne Perry</b>, whose wonderful suite I’m taking in ten years tardy, was also enjoyed at the five-star level. By an odd personal turn, it was hard to begin this sequel to <i>“The Cater Street Hangman”</i> because my dear cat unexpectedly died while that book was going! We miss you very much, <b>Love</b>. I didn’t want to associate <b>Anne</b> with a sad event. After a few uplifting titles: I got back upon the saddle and forged into “<b>Callander Square</b>”.
Exactly like the former, action and activity speed along from scene to scene. This is no mean feat because a plethora of families must be introduced and <b>Anne’s</b> audience needs updating. Where we left off, <i>Charlotte & Thomas</i> wanted to marry. We aren’t witness to his petitioning of her Father nor of their wedding. So we have a little bit of acclimatizing to do at their home, where <i>Charlotte</i> doesn’t mind attending to basic housekeeping and employs one maid to assist her. It seems a solitary maid is sign enough of a humbler station, in the 1800s. <i>Emily’s</i> vain disposition is much improved, as <i>Charlotte’s</i> assistant sleuth.
Not light, <b>Anne</b> presents bold subjects unflinchingly: the discovery of two infants under the grass thoroughfare of a classy neighbourhood. We find the deep-rooted theme again, that this society feared keeping their status and unspotted name; even if avoiding scandal flew in the face of what we today decree is <i>“the right thing”</i>. It was impossible to nail down a culprit because every household, with no exception, questioned the police’s intention to solve an old murder. They all reacted with genuine distress to news of the infants but everyone felt the past should be left to lie. The sub-stories are complex; blended seamlessly between all families by a sharp plotter.