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304 pages, Hardcover
Published August 12, 2025
I wanted to read this thanks to its inclusion on the WSJ's best mysteries of 2025 list. The Portsmouth (NH) Public Library didn't have a hard copy, but it was available via Kindle "Overdrive" download.
I didn't care for it much. It's the third book in the author's "Shona Sandison Mysteries" series, and it might have helped to have read the first two.
Shona is an investigative reporter, and here she is on the track of the mysterious "Grendel" project, a very hush-hush scheme that the schemers would prefer to keep under wraps … until it's revealed on their terms. They are (apparently) willing to murder anyone who gets too curious, including Shona. So she has a lot of close calls; a few of the other characters are not as fortunate. There is a subplot with an old spy seeking vengeance for a dead son.
I didn't care for the author's writing style. Goodreads reviewers tell me I'm not alone: "ponderous and overly ornate" … "too slow" … "disjointed" … I snipped out a couple bits:
The rattling tube ride from Notting Hill had been straightforward. The deeper into the city she delved, the more she thought of her last tentative connection with the gallery. A few years previously, she had written a story about a painting which had been given to the people of Scotland by an aristocratic family—Olivia Farquharson’s family. The painting was not what it seemed: instead of being a forgotten masterpiece by Charles Rennie Mackintosh, the noted Scottish architect and artist, it was discovered to have been painted by his wife, Margaret.
Zzzzz. And:
It was warm in the car, but she knew it was cold outside.
I used to gripe about the late Sue Grafton adding ponderous, pointless detail to her prose. Reader, this author makes Sue look like Ernest Hemingway.