Edward Aarons brought more than just another murder mystery to the market with Gift. His novel contains elements drawn from Hawthorne and Poe. An exhausted blood lineage exhibits itself among the Merritt family in a Connecticut village. Their sins and madness are the underlying themes. Perhaps the symbolism is a little overt--the ancient farmhouse being crushed by an equally ancient elm tree (the tree even has a name, Timothy) which has been shackled in iron throughout its limbs to prevent it blowing over in a wind storm. But it's effective, as it was was elsewhere in House of Seven Gables and Fall of the House of Usher.Aarons if anything is making the reader self aware of this lineage.
Two other things stand out. This is also a noirish novel. But with a twist. Post World War II film noirs and fiction mainly situated themselves in corrupt cities, in dark alleyways, and hidden crime. Here, its the powerful forces intimidating a small village, with tree-lined forest walkways, and criminals being diffused among every class and background. Second is the parallel protogonist, Amanda Merritt, who doesn't get the space of the main hero, Jerry Benedict, but whose own disintegrating mind matches her physical decline. She is an obese woman, over fifty, with gray hair. But she is essential to the story. It's captivating how Aarons focuses on her and creates conflicting currents of sympathy, exasperation, and revulsion for her actions. She is much more multifaceted than Jerry.