by Deborah Crombie

Kincaid heard something in her voice, a shade of worry or aggravation, and remembered how she’d sounded on the phone that morning. Probably some bloke, he thought, and realized how little he knew about Gemma’s life.
Just what had been his relationship with Jasmine Dent? Were they lovers, with Jasmine so ill with cancer? Stealing a glance at Kincaid’s abstracted face, Gemma was shocked to realize how little she knew of his personal life.
For me, the main attraction of this series is exploring the beginnings of the strong marriage and family life that I have learned Duncan Kincaid and Gemma Jones forge later in the series. Also, I like mysteries. On it’s own merits the book was enjoyable but underwhelming on the personal front and the mystery front. the two main characters are nice and smart, but are kind of boring. The writing is a little too simplistic and straightforward. But it was well paced and kept me turning the pages: when one step of progress in the (possible) murder investigation or the character’s personal lives was tackled there was always another to look forward to. First there are the meetings with each of the “suspects” in turn (although it is not positively established there is really a murder), Gemma and Duncan investigate separately and then consult together, Duncan reads the victim Jasmine’s journal, He travels to where she was brought up, the suspects are re-interviewed in light of new information, the contents of the will, and so forth.
Does Deborah Crombie play fair with the reader as far as laying out the clues to solve the mystery? I don’t think so.
**Spoiler**
There is a tie between the murderer and victim that provides the motive, but I didn’t detect any clues to that prior to when it is revealed at the very end. And putting the murderer and victim together was pure coincidence. We are led to believe in one motive when it turns out it was something else entirely. That was fair and actually very well done. But it leaves some unanswered and unexplored questions created to establish the red herring motive. What attracted a posh handsome chancer to a struggling little mouse like Meg? It is established that he latched on to her before there was any hint that she might be coming into money. The answer is never revealed or explored and it might have been interesting. She is trapped and in the thrall of her dangerous lover who is a vile narcissist and main suspect for the murder. Of course the reader is on tenterhooks as to whether, although she is under no illusion as to his character, she can escape his clutches and the sexual hold he has over her. It is a source of suspense and we hope she sees the light and escapes. When she does it is very much an anticlimax after all the build up. She finds her backbone out of nowhere and tells him she is leaving him with virtually no drama or fallout.
We are led to believe one character is one kind of person, when, with no hint or foundation, he is not. We are given every reason to hold him in contempt and distrust and he is provided one of the strongest motives. When a loser of a character based on what we know about his past is “shrugging guilelessly…drinking thirstily… and licking his lips” that telegraphs “bad guy” to me. Or am I crazy? And then when he takes the woman who inherited the victim’s flat there by surprise, “The light from the table lamp bounced off the [eyeglass] lenses, shielding his eyes from her.” He had no business there. It sounded like he must have followed her. But we are asked to disregard those tells that have been fed us and his unremitting history of weakness and asked to believe he is actually a good guy who has learned from his mistakes at long last. It seemed very contrived to provide a hopeful ending to two characters who turned out not to be murderers.
**End Spoiler**
Maybe they will appear in a later book? Apparently this reappearance of some characters does happen in the series which is one of the reasons I am still attracted to continuing it at some point. I did enjoy google-earthing the real streets and buildings in England that are characters travel on and go to.








