Many mysteries are solved in Squire Throwleigh’s Heir and many characters return to a pleasant normalcy of life (though not all), but any readers looking for a happy ending should avoid this volume in the Michael Jecks’ oeuvre. This is a carefully crafted mystery with “red herrings” which may not be red with the blood of murder but are worthy of the crimson color guilt, nonetheless. For example, one character immediately reminded me of the villain trope inspired by the title of an old Bela Fleck instrumental (if I gave the title, it would be a spoiler). Said character was guilty of a crime of one sort or another, but not the murder. Yet, circumstantial evidence kept surrounding her or him.
There are two major deaths in Squire Throwleigh’s Heir, one of the manor’s lord and the other of his heir. The former is so clearly of natural causes that it is disregarded by the coroner and the latter so obviously an accident that the coroner attributes it to an accident. Yet, at least one of these and possibly both, are not what they seem. And I can’t ever remember reading a mystery, historical or otherwise, with such a rich roster of suspects. Readers can get whiplash focusing on one or another. No one except the two protagonists (Simon and Baldwin) and their wives seems beyond suspicion. And, as far as a mystery is concerned, that’s just the way I like them. And, even though the groundwork was fairly laid, I must confess that I did not see the result coming (nor was I entirely pleased with the revelation of the one(s) responsible for the murder).
As with many of Michael Jecks’ mysteries, Squire Throwleigh’s Heir reveals not just social inequities in the medieval system but horrendous injustices. One tenant is a suspect, early and often, because of both “Conventionary Tenure” (where tenants of longstanding could be evicted because someone offered higher rent) and the arbitrary revocation of a peasant’s granted freedom when the lord who granted that freedom died.
Frankly, Squire Throwleigh’s Heir was a bit of an unsettling story for me. Crafted as beautifully as it was and gilded with exquisite medieval detail, the compounded tragedies—mostly personal, but also economic, rather unnerved me enough that I didn’t get the pleasure out of this novel that I usually do with Jecks’ work.