Unfortunately, I came to this book by way of its sequel - "Still Waters", so reading this was a little like time travel In "Still Waters" the relationships between the protagonists was quite well developed, whereas here Macdonald - her series detective - and the Hoggetts are strangers to one another. However, Macdonald is no stranger to the area, having been called in to investigate in the even earlier "Fell Murder". I am saying this for those for whom even mild continuity and internal chronology matter. However, each novel is quite capable of standing alone and for me it was like having a conversation with long-established friends and discovering how they first met.
This is one of Lorac's best stories and it is full of local detail, both geographical and cultural. Even though she is writing fiction and creating fictional locations she embeds the narrative as much as possible in real locations. So there are references to real places correctly placed in relation to one another which help to give a sense of place to her people. Events are located in time both in terms of Macdonald's prior visit and in terms of the post-war context and the ongoing rationing. Where some golden age mysteries could take place in almost any location and in almost any year or even decade, this story and the ones that surround it exist in a very specific time and place. It is probable that rural farmers everywhere might have similar characteristics and might hold to similar social attitudes, but these people exist here in this place and their basic views and attitude to authority have been especially shaped by their experience of officialdom as it was during the war and its immediate aftermath.
The story begins because a local farmer, Giles Hoggett, notices something relatively minor but out of place, which leads him to notice other things which are out of place because stolen. A letter to Scotland Yard happens to come to Macdonald who is travelling north in pursuit of another case. Apparently disparate minor instances begin to show unexpected connections, connections arising from Giles Hoggett's "detecting skills" and vivid imagination as much as from Macdonald's trained mind and careful enquiries.
Lorac does not go in for heavy exposition but sketches each character and over time adds a few more lines and extra shading to their portraits. This allows the reader to develop their own sense of these people in a way which parallels their growing knowledge of each other. This works really well and is quite effective. The physical description of objects, such as Giles' disreputable hat, act as windows on their characters. The image of Giles as a bookseller and a university graduate is offset by his happiness as a farmer and by that hat. In other words, although her portraits are sketches and not fully colour portraits they are not mere caricatures. Also, the personality and character of these people matter more than their appearance. They are not "types" but distinct individuals. This is true, also, of minor characters. One farmer is not a mere clone of another.
The author includes a lot of detail but the reader never gets the feeling that she is simply producing filler. The details either work to further the plot or to emphasise the reality of the setting. If, at some points, it is clear that she is allowing her love of the locality to show through for its own sake it never feels indulgent or unnecessary. The only slight criticism I would say is that the farmers I have met don't really spend much time on the beauty of the landscape, even a farmer who leased out their original farmhouse as a holiday let said "you can't eat the view". To him the farm was a working space and not first and foremost an aesthetic experience.
Somewhat unusually for this author, the murder victim's body is not found immediately and is hidden in quite an unusual way. But, unlike a locked room mystery, this is not some piece of hyper clever trickery but a logical use of the locality to dispose of an unwanted body. The story revolves around "who" and "why" as much as the "how" but the revelation of how these three aspects are connected develops over time in a way which makes the conclusion seem believable and logical. The book works as a detective novel but there are enough details that provide clues for the attentive reader. I guessed the killer but wholly missed some of these clues despite their being quite obvious in hindsight.
The author or, possibly, the publisher did produce some typos and I think that the author did make one or two very minor factual errors - unfortunately I didn't note them down and can't recall them here. They are not major and are the kind of thing that might happen if relying solely on one's memory in a time before google.
One aspect which I did find annoying is the author's use of "jiu-jitsu" as a kind of magic maguffin whereby a smaller policeman can use his "tricks" to overcome a larger individual, even though that larger man can overcome the policeman when they are practising Westmoreland wrestling. Now, the public perception of jujutsu and judo as arts that enable a smaller man to overcome a larger man was common at the time and is, at least, partially correct. But that correct perception is based on a trained man engaging an untrained and unprepared individual. The fact that the individuals were sparring and as such were both alert and prepared means that a skilled wrestler could have a reasonable chance against the smaller man just as a trained exponent of Japanese martial arts might have a good chance against a wrestler. Strictly speaking, this is a criticism of a whole swathe of Golden Age fiction but it is appropriate here because the author is usually a master of circumstantial detail - in the sequel she has a detailed description of someone moving over the ground whilst trying to remain hidden. When she lacks detail it often seems to reveal a lack of detailed knowledge. This is reinforced by the fact that she is quite straightforward about the violence involved in murder. She isn't voyeuristic about violence and doesn't dwell on it but she doesn't seem to be prudish, so such gaps may indicate a lack of real knowledge. On the other hand, she avoids any direct description of a main character's suicide in another novel, leaving it to be mentioned after the fact and with minimal detail.
To conclude, despite my few concerns, the main joy of this book is how Macdonald works with the local civilians to unearth information. He does what he does best and allows his colleague to work with Giles Hoggett in unearthing local information that might be hidden from the police and relying on Kate Hoggett to keep her husband's wilder excesses of imagination in check. Meanwhile the author does an excellent job of showing how preconceptions and downright bias can colour and distort both perceptions and judgements. I do not wish to say much more because there is a risk of giving away the identity of the murderer and spoiling the book. But it is a point in the author's favour that no one is perfect or infallible, not even Macdonald and there are no supervillains. The entire cast is human and, as such, quite believable. The rural inhabitants of the area are, perhaps, just a little too idealised but this is not overdone and the book works because of its basic realism, except that nearly every character smokes frequent cigarettes and yet they have no problem walking long distances or on one occasion, outrunning a younger and much lighter person.