Status
Available
Call number
Series
Collection
Publication
MIRA (2008), 544 pages
Description
Only from New York Times bestselling author Deanna Raybourn, go back to where it all began with the original Lady Julia Grey historical mystery series. "Let the wicked be ashamed, and let them be silent in the grave." These ominous words are the last threat that Sir Edward Grey receives from his killer. Before he can show them to Nicholas Brisbane, the private inquiry agent he has retained for his protection, he collapses and dies at his London home, in the presence of his wife, Julia, and a roomful of dinner guests. Prepared to accept that Edward's death was due to a long-standing physical infirmity, Julia is outraged when Brisbane visits and suggests that her husband was murdered. It is a reaction she comes to regret when she discovers damning evidence for herself, and realizes the truth. Determined to bring the murderer to justice, Julia engages the enigmatic Brisbane to help her investigate Edward's demise. Dismissing his warnings that the investigation will be difficult, if not impossible, Julia presses forward, following a trail of clues that lead her to even more unpleasant truths, and ever closer to a killer who waits expectantly for her arrival.… (more)
Media reviews
Book to be savored, yet devoured in one sitting.
User reviews
LibraryThing member riverwillow
I have to start this with a quote from the back of the book, 'To say I met Nicholas Brisbane over my husband's dead body is not entirely accurate. Edward, it should be noted, was still twitching upon the floor...'. This is a marvellous and fun detective novel set in London 1886 and in creating Lady
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Julia Grey and Nicholas Brisbane Deanna Raybourn has created two fun, convention busting characters, in a detective novel that doesn't take itself too seriously. I shall definitely read later instalments in this series. Show Less
LibraryThing member Lman
Unexpectedly, this was an awfully good read! Not that I hadn’t foreseen an amusing and diverting tale - one only has to read the first line of Silent in the Grave to envisage an unusual chronicle. Nevertheless Ms Raybourn has created an even better-than-anticipated story-line: in the premise, in
Part mystery, part history, part just plain fun, we are dramatically dropped into the sudden demise of Lady Julia Grey’s husband, Edward, and then the ensuing aftermath of her widowhood, as mentioned, from the very first words. As we become more privy to Julia’s circumstances, we are thus introduced to the thoughts and opinions of a remarkable and rare protagonist, along with the rather endearing eccentricities of all her family, and her life. For when Lady Julia decides to employ her late-husband’s private agent, Nicholas Brisbane, to investigate the true circumstances of Edward’s death, a long array of curious, if at times unpleasant, incidents are uncovered, with surprising results.
Easily discernible as a slice of Amelia Peabody and somewhat akin to Maisie Dobbs, the character of Lady Julia Grey was a veritable joy to accompany on her travails, undoubtedly another rendering of a charismatic and readily-engaging persona. And just as palpable, weaving delicately throughout this affair were a myriad of interesting threads underscoring the lifestyles and the conventions of these times. Again, whilst the mystery is the perceived theme and rationale to the premise, the multifarious situations surrounding the plot provided considerable more fascination for me; the many and varied subtleties of Victorian England portrayed with much acumen and much clarity.
I really enjoyed this book, finding it an effortless and delightful read; the quotes at the beginning of each chapter rather illuminating. Whilst the riddle behind the murder was possibly easy to deduce, the methodology and the means employed in the whole undertaking were, to my mind, most intriguing; quite eye-opening in fact! As such, I will look forward to reading the next engrossing chapter in Lady Julia Grey’s new life.
(Dec 19, 2010)
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the characters, in the interesting Victorian setting, and in the ease of the accounting.Part mystery, part history, part just plain fun, we are dramatically dropped into the sudden demise of Lady Julia Grey’s husband, Edward, and then the ensuing aftermath of her widowhood, as mentioned, from the very first words. As we become more privy to Julia’s circumstances, we are thus introduced to the thoughts and opinions of a remarkable and rare protagonist, along with the rather endearing eccentricities of all her family, and her life. For when Lady Julia decides to employ her late-husband’s private agent, Nicholas Brisbane, to investigate the true circumstances of Edward’s death, a long array of curious, if at times unpleasant, incidents are uncovered, with surprising results.
Easily discernible as a slice of Amelia Peabody and somewhat akin to Maisie Dobbs, the character of Lady Julia Grey was a veritable joy to accompany on her travails, undoubtedly another rendering of a charismatic and readily-engaging persona. And just as palpable, weaving delicately throughout this affair were a myriad of interesting threads underscoring the lifestyles and the conventions of these times. Again, whilst the mystery is the perceived theme and rationale to the premise, the multifarious situations surrounding the plot provided considerable more fascination for me; the many and varied subtleties of Victorian England portrayed with much acumen and much clarity.
I really enjoyed this book, finding it an effortless and delightful read; the quotes at the beginning of each chapter rather illuminating. Whilst the riddle behind the murder was possibly easy to deduce, the methodology and the means employed in the whole undertaking were, to my mind, most intriguing; quite eye-opening in fact! As such, I will look forward to reading the next engrossing chapter in Lady Julia Grey’s new life.
(Dec 19, 2010)
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LibraryThing member csayban
It's really hard to not get hooked by a novel that begins with these two sentences:
"To say that I met Nicholas Brisbane over my husband's dead body is not entirely accurate. Edward, it should be noted, was still twitching upon the floor."
Wow! A really strong way to begin a story. Fortunately, the
While the murder mystery makes for an enjoyable story, what really takes this novel to the next level is the writing of Deanna Raybourn. Her style paints the period beautifully, but she refrains from making the scenery the focus of the story. Instead, it provides the perfect backdrop - bringing the reader into the London that existed more than a century ago. However, Raybourn never loses sight of the plot being the driver of the story - a problem that many authors who write period pieces often get sucked into. (You can check out my review of The Historian for an example of a period story gone wrong). The mark of a great period story is that by the end of the book, your focus should be on the story and the atmosphere should be but a comfortable shawl that the story is wrapped in. Raybourn succeeds at this.
Whether you like reading about the Victorian-era, enjoy a good mystery, or a simply looking for a well written novel to read, I think you will be very satisfied with this book. I, for one, am already looking forward to reading the sequel.
4.0 stars: Great book, you should not be disappointed
Oh, one final comment. The cover artwork of the hardcover version is one of the finest I've seen in a very long time. It captures the essence of the book and looks wonderful on the shelf.
"To say that I met Nicholas Brisbane over my husband's dead body is not entirely accurate. Edward, it should be noted, was still twitching upon the floor."
Wow! A really strong way to begin a story. Fortunately, the
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rest of the story remains just as strong. Silent in the Grave is the debut novel of Deanna Raybourn. Set in late 19th century London, it is also the first of a series that now numbers three centering on Lady Julia Grey, a lady of high status in Victorian England. Lady Julie's life changes when her husband dies, leaving here a young widow. But when someone brings to light the possibility that his death was, in fact, a murder, her life suddenly veers into the unknown. Julia must weigh her desire to simply move on with her feeling of duty to her late husband to solve the crime. While the murder mystery makes for an enjoyable story, what really takes this novel to the next level is the writing of Deanna Raybourn. Her style paints the period beautifully, but she refrains from making the scenery the focus of the story. Instead, it provides the perfect backdrop - bringing the reader into the London that existed more than a century ago. However, Raybourn never loses sight of the plot being the driver of the story - a problem that many authors who write period pieces often get sucked into. (You can check out my review of The Historian for an example of a period story gone wrong). The mark of a great period story is that by the end of the book, your focus should be on the story and the atmosphere should be but a comfortable shawl that the story is wrapped in. Raybourn succeeds at this.
Whether you like reading about the Victorian-era, enjoy a good mystery, or a simply looking for a well written novel to read, I think you will be very satisfied with this book. I, for one, am already looking forward to reading the sequel.
4.0 stars: Great book, you should not be disappointed
Oh, one final comment. The cover artwork of the hardcover version is one of the finest I've seen in a very long time. It captures the essence of the book and looks wonderful on the shelf.
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LibraryThing member bsquaredinoz
I’m going to get this out of the way up front. I wouldn’t have finished this book if I hadn’t promised to lead a discussion about it for the online book club Oz Mystery Readers. I found it excruciatingly dull, cliché ridden and utterly devoid of suspense. So if you don’t want read a
Plot synopsis: In London in 1886 Lady Julia Grey’s husband dies of what is presumed to be a pre-existing condition. When a mysterious gentleman, Nicholas Brisbane, tells Lady Julia that her husband may have been murdered she scoffs. Twelve months later she finds a scrap of evidence to support his claim and makes contact. Together they investigate, amidst scads of sexual tension and the occasional stop to be kind to the poor.
I’m quite partial to historical fiction but I think the writing of it is deceptively difficult. Raybourn has actually done a decent job of depicting the world of wealth in the Victorian era but she’s given far too much of a modern sensibility to her characters for them to be credible for me. The entire Grey family (minus one token Tory) are radically liberal and totally accepting of society’s misfits and all the things that would have been considered highly immoral at the time. The rest of the minor players (we’ll talk about Nicholas in a minute) are either worthy stereotypes (warm-hearted prostitutes, hard-working widowed char ladies and misunderstood but honest gypsies etc) or vaguely unsavoury n’er do wells. All of which I might have been able to swallow if it weren’t for the fact that the whole thing was so very serious. Whereas Rhys Bowen or Elizabeth Peters write their respective historical fiction containing unbelievably free-spirited female heroines with their tongues firmly in their cheeks, Raybourn seems to treat the whole thing as Important Work (capitalisation deliberate) because there’s not a jot of humour in the 511 pages. The damn book even has its own ‘graceful and elegant’ font reflective of Lady Julia. Groan.
Relatively speaking Lady Julia is an OK character. I didn’t like her or find her particularly credible but when compared to Nicholas Brisbane she’s fascinatingly unique. Because Brisbane is Sherlock Holmes under an assumed name. He’s got a mysterious background, is dark and brooding, has a problem with drugs and a faithful confidante. Heck he even plays the violin. He’s good at everything he tries (from boxing to music) and annoyingly protective of Lady Julia (remember that sexual tension). And he’s a crashing bore.
While I found the book overdid the romantic element of ‘romantic suspense’ it under-cooked the suspense. Not only was the killer evident from very early on (primarily due to the complete and total absence of red-herrings) but many of the minor threads were blindingly obvious to0. One of the (many) problems stemming from Raybourn’s choice to make everyone so wonderfully liberal is that it took the element of surprise away from the supposed twists. I can’t write what I want to write without giving away spoilers so I will just say that I felt like an older child who’s been dragged along to the Christmas Pantomime with a younger sibling, and all the fun of yelling “lookout he’s behind you” to the hapless actor has long worn off.
It took me a long week to plough through every tiresome, melodramatic moment of this book. I won’t be looking for the next two books in the series and I shan’t be hurrying to volunteer to lead any book discussions in the foreseeable future.
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disgruntled rant you might want to stop now.Plot synopsis: In London in 1886 Lady Julia Grey’s husband dies of what is presumed to be a pre-existing condition. When a mysterious gentleman, Nicholas Brisbane, tells Lady Julia that her husband may have been murdered she scoffs. Twelve months later she finds a scrap of evidence to support his claim and makes contact. Together they investigate, amidst scads of sexual tension and the occasional stop to be kind to the poor.
I’m quite partial to historical fiction but I think the writing of it is deceptively difficult. Raybourn has actually done a decent job of depicting the world of wealth in the Victorian era but she’s given far too much of a modern sensibility to her characters for them to be credible for me. The entire Grey family (minus one token Tory) are radically liberal and totally accepting of society’s misfits and all the things that would have been considered highly immoral at the time. The rest of the minor players (we’ll talk about Nicholas in a minute) are either worthy stereotypes (warm-hearted prostitutes, hard-working widowed char ladies and misunderstood but honest gypsies etc) or vaguely unsavoury n’er do wells. All of which I might have been able to swallow if it weren’t for the fact that the whole thing was so very serious. Whereas Rhys Bowen or Elizabeth Peters write their respective historical fiction containing unbelievably free-spirited female heroines with their tongues firmly in their cheeks, Raybourn seems to treat the whole thing as Important Work (capitalisation deliberate) because there’s not a jot of humour in the 511 pages. The damn book even has its own ‘graceful and elegant’ font reflective of Lady Julia. Groan.
Relatively speaking Lady Julia is an OK character. I didn’t like her or find her particularly credible but when compared to Nicholas Brisbane she’s fascinatingly unique. Because Brisbane is Sherlock Holmes under an assumed name. He’s got a mysterious background, is dark and brooding, has a problem with drugs and a faithful confidante. Heck he even plays the violin. He’s good at everything he tries (from boxing to music) and annoyingly protective of Lady Julia (remember that sexual tension). And he’s a crashing bore.
While I found the book overdid the romantic element of ‘romantic suspense’ it under-cooked the suspense. Not only was the killer evident from very early on (primarily due to the complete and total absence of red-herrings) but many of the minor threads were blindingly obvious to0. One of the (many) problems stemming from Raybourn’s choice to make everyone so wonderfully liberal is that it took the element of surprise away from the supposed twists. I can’t write what I want to write without giving away spoilers so I will just say that I felt like an older child who’s been dragged along to the Christmas Pantomime with a younger sibling, and all the fun of yelling “lookout he’s behind you” to the hapless actor has long worn off.
It took me a long week to plough through every tiresome, melodramatic moment of this book. I won’t be looking for the next two books in the series and I shan’t be hurrying to volunteer to lead any book discussions in the foreseeable future.
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LibraryThing member tamburlaine
I read this book quickly and with interest, enjoying the narrative and the characters. Mostly, the book's late Victorian setting felt authentic, and I liked the heroine (Lady Julia Grey) and her eccentric family. Julia's quest to find out how her husband was killed, and by whom, is entirely
However, I did feel that the March family were just a little too late 20th century unconventional to fit into a solidly Victorian setting, and the writing style, while in general very good, contained enough (though not many) Americanisms and American spellings to grate on this British reader. Brisbane, Julia's investigator, is too good to be true, and is described in romance-novel terms which tend to make me cringe. Julia is a much more well-rounded and interesting character.
The set-up for the next in the series is previewed in the edition I have, and seems to promise well.
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plausible and intriguing, though the revelation of the murderer and the motive don't come as a huge surprise.However, I did feel that the March family were just a little too late 20th century unconventional to fit into a solidly Victorian setting, and the writing style, while in general very good, contained enough (though not many) Americanisms and American spellings to grate on this British reader. Brisbane, Julia's investigator, is too good to be true, and is described in romance-novel terms which tend to make me cringe. Julia is a much more well-rounded and interesting character.
The set-up for the next in the series is previewed in the edition I have, and seems to promise well.
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LibraryThing member LeslieAnnG
Lady Julia Grey is married to her childhood friend Sir Edward Grey. The story opens at a dinner party Julia and Edward are hosting. Edward is struck down by a seizure and later dies. He had been in poor health for some time so this wasn't a complete shock to Julia. She finds herself left widowed
So starts this wonderful historical mystery. The story takes place in 1886 Victorian London and is told in Julia's point of view. Raybourn graduated with double majors in English and history and it definitely comes through in her writing. The reader is taken back in time and gets to experience the same London that Julia does.
Julia was raised with her nine siblings by her father, Lord March and her Aunt Hermia. Her mother died shortly after Julia's youngest brother Valerius was born. Valerius, who is six years younger than Julia, comes to live with her after Edward's death. While she and Val prefer to keep their contact to a minimum they do have a complex relationship and we see how it changes over time as the two are forced to have greater discussions than a simple passing in the hallway.
Sir Simon Grey also lives at Grey House with Julia. He is Edward's cousin and heir since Julia and Edward had no children. Simon was also Julia's childhood friend and is bedridden and in ill health similar to Edward.
Julia also has a wonderful relationship with her sister Portia. Portia is widowed but chose a different path after her mourning period rather than remarrying. She is one woman who knows what she wants and doesn't give a fig about what society thinks with regards to her personal life.
Nicholas Brisbane is a character with a past that he does not want to share. Julia is drawn to him because he is so different from the men she is used to interacting with. He tells Julia that he is in the business of "disposing of matters of a delicate nature for people who do not care to share their difficulties with the Metropolitan Police". He is a fascinating character who's layers are slowly revealed as the story progresses.
One thing I found interesting was how Julia perceived her marriage and relationship to Edward. This was not a love match but a marriage of convenience. They genuinely liked each other but theirs was a relationship of the aristocratic husband and wife, not passionate lovers. It's possible to consider her relationship with Simon deeper than that with Edward. At one point Julia is thinking about when she first met Edward and Simon. That over the years Simon came to be thought of as another brother to her. She is deeply concerned with his failing health and while imagining him dying thinks:
In some ways, his death would be more wrenching than Edward's. Edward had been my husband. Simon was my friend.
I really think this says a lot about how she thought of her marriage to Edward. There is a very distinct line that Julia has drawn between the two relationships.
Then there is her relationship with Nicholas. This is one that at first she maintains on a strict business level but eventually it turns into a partnership, at least in Julia's mind. As they work together to discover what really killed Edward the lines become blurry as to what their relationship is and what it may become. There is an attraction between the two that neither one wants to admit to.
I had a very slight problem with the characters of Magda, the Gypsy laundress and Morag, Julia's ladies maid and reformed prostitute. I would have preferred they have dissimilar names. I found myself getting them mixed up at times.
I completely enjoyed the story of Julia and Nicholas and their search for the truth. The March family members and the other secondary characters were a delight. They were not there merely for decoration but added substance to the plot. Putting aside the splendid language use, the growth of the protagonists and the well developed secondary characters, this was simply a wonderful story.
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and far wealthier than she ever expected. Also at the same dinner party she meets Nicholas Brisbane. He is a business associate of her late husband and was there to lend assistance when Edward collapsed. Nicholas later reveals to Julia that he does not believe Edward's death was due to ill health but instead believes he was murdered.So starts this wonderful historical mystery. The story takes place in 1886 Victorian London and is told in Julia's point of view. Raybourn graduated with double majors in English and history and it definitely comes through in her writing. The reader is taken back in time and gets to experience the same London that Julia does.
Julia was raised with her nine siblings by her father, Lord March and her Aunt Hermia. Her mother died shortly after Julia's youngest brother Valerius was born. Valerius, who is six years younger than Julia, comes to live with her after Edward's death. While she and Val prefer to keep their contact to a minimum they do have a complex relationship and we see how it changes over time as the two are forced to have greater discussions than a simple passing in the hallway.
Sir Simon Grey also lives at Grey House with Julia. He is Edward's cousin and heir since Julia and Edward had no children. Simon was also Julia's childhood friend and is bedridden and in ill health similar to Edward.
Julia also has a wonderful relationship with her sister Portia. Portia is widowed but chose a different path after her mourning period rather than remarrying. She is one woman who knows what she wants and doesn't give a fig about what society thinks with regards to her personal life.
Nicholas Brisbane is a character with a past that he does not want to share. Julia is drawn to him because he is so different from the men she is used to interacting with. He tells Julia that he is in the business of "disposing of matters of a delicate nature for people who do not care to share their difficulties with the Metropolitan Police". He is a fascinating character who's layers are slowly revealed as the story progresses.
One thing I found interesting was how Julia perceived her marriage and relationship to Edward. This was not a love match but a marriage of convenience. They genuinely liked each other but theirs was a relationship of the aristocratic husband and wife, not passionate lovers. It's possible to consider her relationship with Simon deeper than that with Edward. At one point Julia is thinking about when she first met Edward and Simon. That over the years Simon came to be thought of as another brother to her. She is deeply concerned with his failing health and while imagining him dying thinks:
In some ways, his death would be more wrenching than Edward's. Edward had been my husband. Simon was my friend.
I really think this says a lot about how she thought of her marriage to Edward. There is a very distinct line that Julia has drawn between the two relationships.
Then there is her relationship with Nicholas. This is one that at first she maintains on a strict business level but eventually it turns into a partnership, at least in Julia's mind. As they work together to discover what really killed Edward the lines become blurry as to what their relationship is and what it may become. There is an attraction between the two that neither one wants to admit to.
I had a very slight problem with the characters of Magda, the Gypsy laundress and Morag, Julia's ladies maid and reformed prostitute. I would have preferred they have dissimilar names. I found myself getting them mixed up at times.
I completely enjoyed the story of Julia and Nicholas and their search for the truth. The March family members and the other secondary characters were a delight. They were not there merely for decoration but added substance to the plot. Putting aside the splendid language use, the growth of the protagonists and the well developed secondary characters, this was simply a wonderful story.
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LibraryThing member hlsabnani
Overall this book was fantastic! I literally read it in one sitting (all 500+ pages). There were a lot of great red herrings, though I had pretty much figured it out in by the last 50 or so pages. This did not make the book any less great. I look forward to the next book in the series!
LibraryThing member AdonisGuilfoyle
There are not enough adjectives to describe how enjoyable this book is - I raced through it, and fell in love with Lady Julia and Nicholas Brisbane. The characters are vivid but believable, the mystery suitably gothic and intriguing, the layout delightful - each chapter opens with an appropriate
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quote sourced from literature - and the simmering romance is tantalising. Each revelation in the story was unexpected but not too far-fetched, and spurred me onto the next chapter, and the eccentricities of the characters seemed to work within the context of the plot. (One warning - do not read the study questions at the back of the MIRA edition before finishing the book, as this rather ruined the 'whodunit' for me !) The author also has a firm but subtle grip on the history of the era (the 1880s), writing with accuracy and barely one anachronism/Americanism - her dialogue never wavers, and she manages to inform without lecturing. Her style is also witty and droll, and I burst out laughing more than once - Julia's description of an 'anatomical' clue to Brisbane had me in stitches, and her personal discoveries about certain members of staff were also amusing. Wonderful book with endearing - and enduring - characters. I shall definitely read the sequel, and I am waiting with baited breath for the third book in the series, set in Yorkshire! Show Less
LibraryThing member cameling
fiesty heroine and a good mystery
LibraryThing member victorianrose869
9-19-2008
I initially bought the sequel to this, Silent in the Sanctuary, when I couldn’t resist the beautiful cover. I knew it wasn’t the first book but it didn’t sound as if I really needed the first one to appreciate the second. I changed my mind when I started reading since it referred
Lady Julia Grey is the storyteller, and the story begins with the death of her sickly husband, Edward, who dies young of the same heart condition that has killed off other members of his family. He and Julia had been friends since they were children, but Julia comes to feel that she possibly made a mistake in marrying Edward, realizing that a childhood friend doesn’t always make the best husband. She never suspects that his death was anything but natural, however, until the requisitely hot but unpleasantly-mannered Nicholas Brisbane approaches her with the revelation that Edward had feared for his life in his last days, and he and Julia embark on a very testy partnership to root out a murderer.
Julia’s narrative is refreshingly personable and believable, and Raybourn’s knowledge of Victorian-era details is impressive. I’m frankly shocked at myself for enjoying this book so much because I generally loathe anything with a romantic tinge. Granted romance is not the primary theme, but it’s in there. Except for a few eye-rolling moments, though, Raybourn does an admirable job of making it low-key enough to be not only tolerable for us romance-haters, but even enjoyable. I was rather hot for Nicholas myself by the end of it! (haha), although I usually don’t care for those rude, brooding Heathcliff-type men other women seem so enamored of.
After finishing this I went immediately back to the sequel I’d initially started with, Silent in the Sanctuary. I’ll post about it next.
I initially bought the sequel to this, Silent in the Sanctuary, when I couldn’t resist the beautiful cover. I knew it wasn’t the first book but it didn’t sound as if I really needed the first one to appreciate the second. I changed my mind when I started reading since it referred
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back often enough to the events in Silent in the Grave to make me want to read it first. Even though I knew it was a romance-flavored mystery, which I normally loathe, I took a chance because I am so enamored of the first-person narration specifically in a Victorian setting, a la Wilkie Collins and Charlotte Bronte. I downloaded it to my e-reader and was not disappointed. Lady Julia Grey is the storyteller, and the story begins with the death of her sickly husband, Edward, who dies young of the same heart condition that has killed off other members of his family. He and Julia had been friends since they were children, but Julia comes to feel that she possibly made a mistake in marrying Edward, realizing that a childhood friend doesn’t always make the best husband. She never suspects that his death was anything but natural, however, until the requisitely hot but unpleasantly-mannered Nicholas Brisbane approaches her with the revelation that Edward had feared for his life in his last days, and he and Julia embark on a very testy partnership to root out a murderer.
Julia’s narrative is refreshingly personable and believable, and Raybourn’s knowledge of Victorian-era details is impressive. I’m frankly shocked at myself for enjoying this book so much because I generally loathe anything with a romantic tinge. Granted romance is not the primary theme, but it’s in there. Except for a few eye-rolling moments, though, Raybourn does an admirable job of making it low-key enough to be not only tolerable for us romance-haters, but even enjoyable. I was rather hot for Nicholas myself by the end of it! (haha), although I usually don’t care for those rude, brooding Heathcliff-type men other women seem so enamored of.
After finishing this I went immediately back to the sequel I’d initially started with, Silent in the Sanctuary. I’ll post about it next.
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LibraryThing member Bookmarque
Alas, I should have checked the publisher before downloading this from audible. If I’d seen the Harlequin name there I would have saved myself some trouble. This is not my thing. Too much romance and breathy innuendo and too little mystery. Too many character cliches. Too many modern ideas.
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Really, Lady Julia, enough with your cross-class do-gooder motif. I know there had to be some women who thought a bit like she did, but it didn’t ring true and that axe just kept getting ground. I don’t think there’s any left. I figured who had to have done it pretty early and so the culprit wasn’t a surprise. Overall disappointing. Lady Julia’s bosom will just have to go on heaving without me. Show Less
LibraryThing member phoebesmum
Flawed (mostly in the way of Americanisms and non-period language) but immensely readable Victorian whodunnit. The opening line - "To say that I met Nicholas Brisbane over my husband's dead body is not entirely accurate. Edward, it should be noted, was still twitching upon the floor" - certainly
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commands the attention. One wonders, however, having thrown dastardly poisons, brooding Gypsies, a stolen Tower raven and dealings with an upper-class bordello into the mix, just what the author has saved up for the remainder of the series. Since book 2 is on my birthday wishlist, no doubt I shall find out. Show Less
LibraryThing member JenSay
"To say I met Nicholas Brisbane over my husband's dead body isn't entirely accurate. Edward, it should be noted, was still twitching upon the floor." Quite possibly one of the greatest first lines ever. Lady Julia Grey sets out to solve the mysterious death of her husband, Edward. This book is
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smart, witty, and very well written. I figured out who the murderer was fairly early in the book, but I never guessed the reason. What a surprising twist! Show Less
LibraryThing member ntempest
I quite liked this for the most part, though I'm not a huge mystery reader. It is set in London at the end of the nineteenth century, and features the newly widowed Lady Julia Grey, formerly Julia March, of the somewhat eccentric March clan. Julia was the most normal of her family and just wanted
The plot is a bit convoluted by the end, but the characters make up for it--each is so intricate with quite an intriguing past. Brisbane is particularly mysterious. This is the first in a series, and I assume more will be learned about him as the books progress, though I fear he might end up one of those characters that coincidentally knows all about whatever he needs to know to solve any given problem. Still, I liked him in this, and Julia is a nicely nuanced and layered heroine.
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to marry and have a family like a proper woman of her age. But when she had her coming out, she was just a tad too intelligent and opinionated--her father had raised her and her many siblings to know about politics and finance and so on, regardless of their sex--and scared away most of the men. Fortunately, her childhood friend Edward proposed and they settled into what she thought would be a comfortable marriage. However, upon Edward's early death, Julia finds that she has altered terribly from the young woman she once was. Just as she thinks she might have put together a plan for recovering her own personality, Nicholas Brisbane shows up at her front door, suggesting that Edward was actually murdered instead of dying from the infirmity that had plagued his family for generations.The plot is a bit convoluted by the end, but the characters make up for it--each is so intricate with quite an intriguing past. Brisbane is particularly mysterious. This is the first in a series, and I assume more will be learned about him as the books progress, though I fear he might end up one of those characters that coincidentally knows all about whatever he needs to know to solve any given problem. Still, I liked him in this, and Julia is a nicely nuanced and layered heroine.
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LibraryThing member sheepish
This is truly one of the best books I've ever read. It had many twists and turns and we didn't find out who did it until the end of the book. I love books about strong women,especially those that find their strength and begin to be comfortable in it.
LibraryThing member NJBookGirl
The is a beautifully written book. I love historical novels. This one is no exception, you get lost in the location & time, the language & characters. The mystery of the death of Lady Julia Grey's husband keeps you on your toes through the entire story & leads to a suprising ending. The
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relationship between Julia & Nicholas is definately an interesting one & the author does a good job of not serving it up on a silver platter. Julia is a wonderful character as well, stronger then most women of her time & willing to take chances & stand up for what she believes in. I look forward to reading the 2nd in the series! Show Less
LibraryThing member smik
In the tradition of the Grey family, Sir Edward Grey did not make old bones, but his collapse at the age of 34 on the floor of his music room in front of guests was totally unexpected, and at the time his wife Lady Julia accused him of playing a prank. It was one of the guests, Nicholas Brisbane,
The year is 1886, the setting Victorian London. Julia Grey is the ninth child of Lord March, married over five years before to her childhood sweetheart.
In compliance with conventions made popular by Queen Victoria herself, the clocks are stopped at the moment of Sir Edward's death, everything is swathed and wreathed in black crepe, and Julia begins a year of mourning, wearing unrelenting black and avoiding "entertainments".
Edward had become increasingly unwell during the final year of their marriage, but even so Julia is unprepared for what Nicholas Brisbane comes to tell her a few weeks after the funeral: that her husband had feared for his life and had hired Brisbane to protect him, and that he thinks Edward was murdered. Julia discounts Brisbane's advice until just a year after Edward's death when she makes a startling discovery.
It was this book that I had in mind the other day in my post The Dangers of Genre Mixing, for this novel mixes history, mystery, and even more elements including the paranormal, and accepted social mores.
In addition SILENT IN THE GRAVE was Raybourn's debut novel, and I think she struggled to get the right mix of history and mystery. There is a lot of "setting of the scene" in the first year of the story, and the mystery element doesn't really get a chance for the first 80 pages until Lady Julia makes a discovery that leads her to taking Brisbane up on his earlier suggestion.
For me the first half of the novel was frustratingly slow going: it took me well over a week to read. I had meant to have it read in time for an online discussion at oz_mystery_readers and have had to play a sort of catch-up with the discussion. Even so the revelations of the last 100 pages or so caught me by surprise, and the finally revealed identity of Sir Edward's murderer was a character whom I had earlier discounted.
Lady Julia is at times rather self-centred, impulsive and vacuous, while Nicholas Brisbane is brooding control-freak in an almost Heathcliff fashion. They make an unlikely investigative team. But this partnership continues in two more novels.
1. Silent in the Grave (2006)
2. Silent in the Sanctuary (2008)
3. Silent on the Moor (2009)
At a hefty 500+ pages, SILENT IN THE GRAVE is a "solid" read in more than one way. The physical structure of the book actually contributes to its length: there are forty one chapters, and a dividing page between each chapter. Each chapter page has a classical quotation, the significance of which at times escaped me, while at other times they seemed particularly apt.
SILENT IN THE GRAVE was shortlisted for an Agatha Award for Best First Novel in 2007
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who pointed out that Edward was convulsing.The year is 1886, the setting Victorian London. Julia Grey is the ninth child of Lord March, married over five years before to her childhood sweetheart.
In compliance with conventions made popular by Queen Victoria herself, the clocks are stopped at the moment of Sir Edward's death, everything is swathed and wreathed in black crepe, and Julia begins a year of mourning, wearing unrelenting black and avoiding "entertainments".
Edward had become increasingly unwell during the final year of their marriage, but even so Julia is unprepared for what Nicholas Brisbane comes to tell her a few weeks after the funeral: that her husband had feared for his life and had hired Brisbane to protect him, and that he thinks Edward was murdered. Julia discounts Brisbane's advice until just a year after Edward's death when she makes a startling discovery.
It was this book that I had in mind the other day in my post The Dangers of Genre Mixing, for this novel mixes history, mystery, and even more elements including the paranormal, and accepted social mores.
In addition SILENT IN THE GRAVE was Raybourn's debut novel, and I think she struggled to get the right mix of history and mystery. There is a lot of "setting of the scene" in the first year of the story, and the mystery element doesn't really get a chance for the first 80 pages until Lady Julia makes a discovery that leads her to taking Brisbane up on his earlier suggestion.
For me the first half of the novel was frustratingly slow going: it took me well over a week to read. I had meant to have it read in time for an online discussion at oz_mystery_readers and have had to play a sort of catch-up with the discussion. Even so the revelations of the last 100 pages or so caught me by surprise, and the finally revealed identity of Sir Edward's murderer was a character whom I had earlier discounted.
Lady Julia is at times rather self-centred, impulsive and vacuous, while Nicholas Brisbane is brooding control-freak in an almost Heathcliff fashion. They make an unlikely investigative team. But this partnership continues in two more novels.
1. Silent in the Grave (2006)
2. Silent in the Sanctuary (2008)
3. Silent on the Moor (2009)
At a hefty 500+ pages, SILENT IN THE GRAVE is a "solid" read in more than one way. The physical structure of the book actually contributes to its length: there are forty one chapters, and a dividing page between each chapter. Each chapter page has a classical quotation, the significance of which at times escaped me, while at other times they seemed particularly apt.
SILENT IN THE GRAVE was shortlisted for an Agatha Award for Best First Novel in 2007
Show Less
LibraryThing member Kasthu
Silent in the Grave is a thrilling Victorian mystery that begins with one of the best novel openers I’ve ever seen: "To say that I met Nicholas Brisbane over my husband's dead body is not entirely accurate. Edward, it should be noted, was still twitching upon the floor." From there, I knew I was
No sooner is Sir Edward Gray dead then a mysterious stranger implies to his widow, Lady Julia, that her husband might have been murdered. A year later, Lady Julia unwittingly re-opens the case when she stumbles across a mysterious note shoved in a back drawer of his desk that awakens her curiosity. She and Nicholas Brisbane embark upon a dangerous search for the killer.
Don’t expect this to be your typical murder mystery. Everyone who lives in the Grey house has a secret to hide, not the least of whom was Sir Edward. I’ve read enough mysteries to flatter myself that I can figure out the solution to one before the denouement; but even I was unprepared for this one.
My only problem with this book is the fact that the characters seemed to be a little too modern. This may have had something to do with the fact that Lady Julia was raised in a highly unorthodox environment, but there were definitely some situations where my eyebrows were raised and I thought, "that really wouldn't have happened back then." Also, I found Julia’s actions questionable at times. It was rather like watching those horror movies where the killer is standing directly behind the heroine and she doesn’t see him until its too late. Julia, for all her intelligence, had those moments where she behaved incredibly stupidly, even for an amateur detective.
But nothing is as it seems in Silent In the Grave, and each chapter ends with a cliffhanger that leads you wanting to read more (even if it’s two am and you’re sleep deprived!). I literally did not want to put this novel down, and I eagerly look forward to reading the sequel, Silent in the Sanctuary. It’s difficult to believe, as Raybourn mentions in the introduction of Silent in the Grave, that it took two years for her agent to find a publisher for this book.
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going to be in for quite a ride. And Deanna Raybourn does not disappoint.No sooner is Sir Edward Gray dead then a mysterious stranger implies to his widow, Lady Julia, that her husband might have been murdered. A year later, Lady Julia unwittingly re-opens the case when she stumbles across a mysterious note shoved in a back drawer of his desk that awakens her curiosity. She and Nicholas Brisbane embark upon a dangerous search for the killer.
Don’t expect this to be your typical murder mystery. Everyone who lives in the Grey house has a secret to hide, not the least of whom was Sir Edward. I’ve read enough mysteries to flatter myself that I can figure out the solution to one before the denouement; but even I was unprepared for this one.
My only problem with this book is the fact that the characters seemed to be a little too modern. This may have had something to do with the fact that Lady Julia was raised in a highly unorthodox environment, but there were definitely some situations where my eyebrows were raised and I thought, "that really wouldn't have happened back then." Also, I found Julia’s actions questionable at times. It was rather like watching those horror movies where the killer is standing directly behind the heroine and she doesn’t see him until its too late. Julia, for all her intelligence, had those moments where she behaved incredibly stupidly, even for an amateur detective.
But nothing is as it seems in Silent In the Grave, and each chapter ends with a cliffhanger that leads you wanting to read more (even if it’s two am and you’re sleep deprived!). I literally did not want to put this novel down, and I eagerly look forward to reading the sequel, Silent in the Sanctuary. It’s difficult to believe, as Raybourn mentions in the introduction of Silent in the Grave, that it took two years for her agent to find a publisher for this book.
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LibraryThing member wildflowersoul
Very few books get so good that I need to read "just a little bit more" on my lunch break. This book won a spot on that short list today, as my commute to work this morning left me hanging at a particularly compelling point in the story. Now I can't wait to get back on the train to read more this
Nothing fancy, it's a pretty typical historical fiction novel. Feisty strong-willed English lady runs around trying to solve a mystery with a handsome mysterious stranger who is, of course, a helping of Heathcliff and a big whopping pile of Rhett Butler. It's probably fairly predictable, but hey, I could never solve a Nancy Drew mystery before the Teen Detective, so I'm pretty good at staying in the moment in a book so long as the writing is good enough to allow me full immersion (and it is!).
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evening!Nothing fancy, it's a pretty typical historical fiction novel. Feisty strong-willed English lady runs around trying to solve a mystery with a handsome mysterious stranger who is, of course, a helping of Heathcliff and a big whopping pile of Rhett Butler. It's probably fairly predictable, but hey, I could never solve a Nancy Drew mystery before the Teen Detective, so I'm pretty good at staying in the moment in a book so long as the writing is good enough to allow me full immersion (and it is!).
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LibraryThing member lindymc
This is a great book & I give it highest recommendations. Ms. Raybourn writes with a delicate sense of humor and a deft turn of phrase. This is an intelligently written book for the intelligent reader. For on thing, I love that each chapter begins with a quote or bit of poem or old proverb that
As for the setting, the reader gets a good solid understanding of the environment of 1880's London, England, i.e., lifestyle, clothing fashions, food, customs, etiquette, etc., without being beat over the head with heavy-handed explanations and/or descriptions.
The two leading characters - Lady Julia Grey and Nicholas Brisbane - are simply marvelous. The tension between them is palpable and very well developed. The intellectual tension between them is every bit as fun and intriguing as the physical attraction. Both characters are multi-layered and Ms. Raybourn does an excellent job in showing us glimpses of the past experiences, background, hopes, failures, etc. that motivate them and make them who they are.
And the book is peppered with a supporting cast of characters that is second to none and enhances the book's overall charm, warmth and depth. Included are Lady Julia's nine eccentric and wildly different siblings, her father (who is delightful), her aunts (one of whom is referred to as the Ghoul), Brisbane's manservant/confidant, and his former mistress and now dear friend of Lady Julia's.
But don't think for a minute this is a light-hearted, slapstick kind of book. Quite the contrary. Ms. Raybourn weaves a tight plot with several intertwining threads that all reach a very satisfying conclusion ... although one that leaves the reader wanting more ... which Ms. Raybourn supplies in the sequel - Silent in the Sanctuary.
Historical mysteries are favorites of mine and I have read books by many authors within this broad genre, including such authors as Patricia Finney (aka P.F. Chisholm), Will Thomas, Jacqueline Winspear, Rhys Bowen, Victoria Thompson and Priscilla Royal. I happily rank Ms. Raybourn among the top two or three.
From setting to characters to plotline(s) to dialogue, I just can't find too much wrong with this book. Ms. Raybourn writes with a confident grace and style that is never forced and very enjoyable to read.
(Review written by LoisAnn, Lindymc's daughter.)
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gives the slightest forshadow of the chapter to come. As for the setting, the reader gets a good solid understanding of the environment of 1880's London, England, i.e., lifestyle, clothing fashions, food, customs, etiquette, etc., without being beat over the head with heavy-handed explanations and/or descriptions.
The two leading characters - Lady Julia Grey and Nicholas Brisbane - are simply marvelous. The tension between them is palpable and very well developed. The intellectual tension between them is every bit as fun and intriguing as the physical attraction. Both characters are multi-layered and Ms. Raybourn does an excellent job in showing us glimpses of the past experiences, background, hopes, failures, etc. that motivate them and make them who they are.
And the book is peppered with a supporting cast of characters that is second to none and enhances the book's overall charm, warmth and depth. Included are Lady Julia's nine eccentric and wildly different siblings, her father (who is delightful), her aunts (one of whom is referred to as the Ghoul), Brisbane's manservant/confidant, and his former mistress and now dear friend of Lady Julia's.
But don't think for a minute this is a light-hearted, slapstick kind of book. Quite the contrary. Ms. Raybourn weaves a tight plot with several intertwining threads that all reach a very satisfying conclusion ... although one that leaves the reader wanting more ... which Ms. Raybourn supplies in the sequel - Silent in the Sanctuary.
Historical mysteries are favorites of mine and I have read books by many authors within this broad genre, including such authors as Patricia Finney (aka P.F. Chisholm), Will Thomas, Jacqueline Winspear, Rhys Bowen, Victoria Thompson and Priscilla Royal. I happily rank Ms. Raybourn among the top two or three.
From setting to characters to plotline(s) to dialogue, I just can't find too much wrong with this book. Ms. Raybourn writes with a confident grace and style that is never forced and very enjoyable to read.
(Review written by LoisAnn, Lindymc's daughter.)
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LibraryThing member Cherylk
Sir Edward Grey has received several threats but before he can show these threats to the private investigator that he hired Nicholas Brisbane, Sir Edward Grey dies in his home in front of his wife and a room full of guests.
Julia, his wife is prepared to mourn her husband when Brisbane tells her
As they get deeper into the surroundings that caused her husband’s murder, Julia finds that not everyone is what they seem to be.
This is a good well written debut for Deanna Raybourn.
Julia, his wife is prepared to mourn her husband when Brisbane tells her
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that her husband has been murdered. Together Julia and Brisbane determined to bring justice to her husband’s killer start down a long and windy path full of mayhem, intrigue, lots of twists and turns, including a surprise ending. As they get deeper into the surroundings that caused her husband’s murder, Julia finds that not everyone is what they seem to be.
This is a good well written debut for Deanna Raybourn.
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LibraryThing member TadAD
To put the summary first: this is a very fine debut novel by Raybourn and I look forward to picking up the sequel.
The mystery, itself, is nothing special...a fairly low-key affair with fairly stock elements. I suspect that most mystery readers will figure out the killer long before the characters
What makes this book so enjoyable are three things. First, the author is simply a good writer. There is no sense on the reader's part that this is a debut work. The plot flows smoothly along, neither hurried nor dawdling. The characters behave and evolve believably. The dialogue falls naturally on the ears, intelligent and witty. It takes no effort to be drawn into the story.
Second, the author's slyly mocking perspective on the prejudices of upper-class Victorian society is delightful. Views on class, race, nationality, profession, marital status, wealth and on...each is brought before the dock at some point. It is casually done, never heavy-handed nor preachy, and the author has avoided the trap of creating "good guys" and "bad guys" to make these points. Each character, whether sympathetic or not, is presented as a part of their culture, sharing to some degree or other in these views. Even our heroine, generally the most liberal of the characters we meet, is shown to have a fundamental sense of noblesse oblige with, "We were charged with taking care of those to whom our money and our blood made us superior."
The main strength of the novel, however, lies in its characters. They are vividly drawn, real to the reader from the moment they are introduced. We like them or hate them as we choose, but we don't deny them. Our main character is particularly enjoyable: there's no unchanging, timeless character here who will be the same book after book à la many series protagonists. Over the year of this novel, she grows immensely and believably in response to the events of her life. Even the minor characters, whom we meet more or less briefly, come to life—the proper British butler is not just a stereotype; the prostitute-turned-maid is not a caricature. Each is, in his own way, contributes significantly to drawing the reader into the very believable world.
Ironically, it is in this very area of strength that my biggest concern lies. I have a strong aversion to "superman" characters outside of James Bond or Dirk Pitt novels, and I worry that our male lead might be heading there. The author does not step over the line in this book but does not tread far from it, either. Without stepping into the territory of spoilers, I will leave it that irresistable-to-women, adept-at-all-things characters are better suited to the aforementioned genres and, if there are too many more revelations of hidden virtuosity on the part of Nicholas, I shall be disappointed.
The mystery, itself, is nothing special...a fairly low-key affair with fairly stock elements. I suspect that most mystery readers will figure out the killer long before the characters
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do. What makes this book so enjoyable are three things. First, the author is simply a good writer. There is no sense on the reader's part that this is a debut work. The plot flows smoothly along, neither hurried nor dawdling. The characters behave and evolve believably. The dialogue falls naturally on the ears, intelligent and witty. It takes no effort to be drawn into the story.
Second, the author's slyly mocking perspective on the prejudices of upper-class Victorian society is delightful. Views on class, race, nationality, profession, marital status, wealth and on...each is brought before the dock at some point. It is casually done, never heavy-handed nor preachy, and the author has avoided the trap of creating "good guys" and "bad guys" to make these points. Each character, whether sympathetic or not, is presented as a part of their culture, sharing to some degree or other in these views. Even our heroine, generally the most liberal of the characters we meet, is shown to have a fundamental sense of noblesse oblige with, "We were charged with taking care of those to whom our money and our blood made us superior."
The main strength of the novel, however, lies in its characters. They are vividly drawn, real to the reader from the moment they are introduced. We like them or hate them as we choose, but we don't deny them. Our main character is particularly enjoyable: there's no unchanging, timeless character here who will be the same book after book à la many series protagonists. Over the year of this novel, she grows immensely and believably in response to the events of her life. Even the minor characters, whom we meet more or less briefly, come to life—the proper British butler is not just a stereotype; the prostitute-turned-maid is not a caricature. Each is, in his own way, contributes significantly to drawing the reader into the very believable world.
Ironically, it is in this very area of strength that my biggest concern lies. I have a strong aversion to "superman" characters outside of James Bond or Dirk Pitt novels, and I worry that our male lead might be heading there. The author does not step over the line in this book but does not tread far from it, either. Without stepping into the territory of spoilers, I will leave it that irresistable-to-women, adept-at-all-things characters are better suited to the aforementioned genres and, if there are too many more revelations of hidden virtuosity on the part of Nicholas, I shall be disappointed.
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LibraryThing member SpyGirl116
Silent in the Grave is a mystery set in Victorian England, and I LOVED it. It's exactly what I've been looking for: a well-written novel I couldn't wait to curl up with. I'm only sorry that this is the first novel Raybourn has written and there aren't any others for me to devour.
It's a solid,
Lady Julia's interaction with her eccentric family and love/hate relationship with Brisbane makes for fascinating reading. The historical element is deftly done and entirely without tedious, irrelevant descriptions. Throw in some gypsies, a stolen talking raven, suspicious servants and a few of London's seedier inhabitants, and you've got a great novel.
Would love to tell you more but I don't want to give anything away.
It's a solid,
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well-written book and a certifiable page-turner. I read its 500+ pages in three days. Plus, there's a pretty good plot twist and an exciting ending. [Must pause to pat myself on the back: I guessed the murderer about halfway through the book but never even dreamed what the motive was]. Lady Julia Grey is an ideal heroine; smart without being a know-it-all and self-questioning without becoming tedious. The novel begins with the dramatic death of her husband and the appearance of a dark and mysterious investigator, Nicholas Brisbane. Lady Julia dismisses his assertion that her husband's death was murder, but later engages Brisbane's services after she finds proof that her husband was receiving death threats.Lady Julia's interaction with her eccentric family and love/hate relationship with Brisbane makes for fascinating reading. The historical element is deftly done and entirely without tedious, irrelevant descriptions. Throw in some gypsies, a stolen talking raven, suspicious servants and a few of London's seedier inhabitants, and you've got a great novel.
Would love to tell you more but I don't want to give anything away.
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LibraryThing member swelldame
I picked up this book expecting a fun, historical romp with a bit of a mystery and a dash of romance. In short, a good time. But Raybourn far exceeded my expectations with a tale that was indeed fun but also surprisingly thought-provoking.
The mystery was a bit unpredictable, with a few good red
The romance was satisfying in that it wasn’t really a romance. To me, it felt less like two people falling in love and more like two people forming a relationship that may or may not eventually turn into love. I really liked that. There was, of course, physical attraction and affinity of natures and, I think, a mutual respect. But Julia and Nicholas didn’t truly trust one another and each was dealing with a personal identity crisis, which at this point in their story create serious impediments to their being together. That, to me, seemed refreshingly honest and real. (Of course, that doesn’t stop me from hoping -and suspecting- that these two end up with a HEA in the future books.)
Both the mystery and the romance were really secondary in this book, though. At its core, this is the story of Julia’s personal transformation. There were two points in the story where she talks about looking in the mirror and not recognizing the person she sees, once when she was dressing and acting as her husband wished and once after she had begun her personal transformation. I think this perfectly illustrates her crisis of character: she doesn’t recognize the woman she had become and is not yet aware of who she wants to be. I found it fascinating and compelling. I loved that she examined her own actions and thoughts, and when she found herself wanting, she apologized, learned from her mistakes, and moved on. It made her seem refreshingly believable.
I thought the prose was well written and managed to convey the feel of the Victorian era without any of the stiffness and artificiality sometimes present in historical fiction. There were, of course, some of the cliched conventions of the historical mystery/romance genre (i.e., the large, eccentric family; the dark, brooding hero; the saucy but devoted servants), but the book was so good that I didn’t mind in the least. I’m almost afraid to read the sequel for fear that it won’t live up to my satisfaction with this book (I’ve had a string of bad luck lately with disappointing serial books). However, that’s not enough to keep me from going to the library tomorrow to check out Silent in the Sanctuary. And maybe I’ll find out just who Mariah Young is.
The mystery was a bit unpredictable, with a few good red
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herrings thrown in. I figured out whodunit about a third of the way through using the least-likely-suspect rule. However, the motivations behind the murder remained shrouded until right near the end.The romance was satisfying in that it wasn’t really a romance. To me, it felt less like two people falling in love and more like two people forming a relationship that may or may not eventually turn into love. I really liked that. There was, of course, physical attraction and affinity of natures and, I think, a mutual respect. But Julia and Nicholas didn’t truly trust one another and each was dealing with a personal identity crisis, which at this point in their story create serious impediments to their being together. That, to me, seemed refreshingly honest and real. (Of course, that doesn’t stop me from hoping -and suspecting- that these two end up with a HEA in the future books.)
Both the mystery and the romance were really secondary in this book, though. At its core, this is the story of Julia’s personal transformation. There were two points in the story where she talks about looking in the mirror and not recognizing the person she sees, once when she was dressing and acting as her husband wished and once after she had begun her personal transformation. I think this perfectly illustrates her crisis of character: she doesn’t recognize the woman she had become and is not yet aware of who she wants to be. I found it fascinating and compelling. I loved that she examined her own actions and thoughts, and when she found herself wanting, she apologized, learned from her mistakes, and moved on. It made her seem refreshingly believable.
I thought the prose was well written and managed to convey the feel of the Victorian era without any of the stiffness and artificiality sometimes present in historical fiction. There were, of course, some of the cliched conventions of the historical mystery/romance genre (i.e., the large, eccentric family; the dark, brooding hero; the saucy but devoted servants), but the book was so good that I didn’t mind in the least. I’m almost afraid to read the sequel for fear that it won’t live up to my satisfaction with this book (I’ve had a string of bad luck lately with disappointing serial books). However, that’s not enough to keep me from going to the library tomorrow to check out Silent in the Sanctuary. And maybe I’ll find out just who Mariah Young is.
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LibraryThing member FlorenceArt
Not bad for a romance book. I actually cared about the characters, although some of them are a bit too stereotypical, especially Nicholas Brisbane who is your typical darkly mysterious, dangerous yet protective hunk. The character has potential, he deserved more subtlety.
I am always a little
Despite these faults, an enjoyable read.
I am always a little
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annoyed to see 20th/21st Century characters slapped on a historical background. Here there is some effort at historical consistency, but still, the casual way in which some subjects are discussed doesn't ring very true. Despite these faults, an enjoyable read.
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Subjects
Awards
Romantic Times Reviewers' Choice Award (Winner — 2007)
Agatha Award (Nominee — First Novel — 2007)
Dilys Award (Nominee — 2008)
RITA Award (Finalist — 2008)
Language
Original language
English
Original publication date
2006-12-19
Physical description
544 p.; 0.04 inches
ISBN
0778301370 / 9780778301370
Local notes
London, 1886. For Lady Julia Grey, her husband's sudden death at a dinner party is extremely inconvenient, not to mention an unpardonable social gaffe. However, things take a turn for the worse when inscrutable private investigator Nicholas Brisbane reveals that the death was not due to natural causes. Drawn away from her comfortable, conventional life, Lady Julia is exposed to a dark and threatening new world.
Witty and sparkling. Loved the opening lines: "To say I met Nicholas Brisbane over my husband's dead body is not entirely accurate. Edward, it should be noted, was still twitching upon the floor."
Witty and sparkling. Loved the opening lines: "To say I met Nicholas Brisbane over my husband's dead body is not entirely accurate. Edward, it should be noted, was still twitching upon the floor."
Other editions
Julia Grey, Book 1: Silent in the Grave by Deanna Raybourn (Hardcover)