Since I love Christmas, non-modern settings, and murder mysteries, I've always had a fondness for the late Anne Perry's Christmas stories, and I'm glad I still have a backlog to enjoy for several Christmases to come. Sadly, however, this was not one of her better outings.
The plot is essentially a take on the Prodigal Son, with Henry Rathbone (a minor character from her William Monk series who has also shown up in a couple other of the Christmas stories) endeavoring to find a friend's son and bring him back from the life of vice he has fallen into. To do this, he teams up with Squeaky Robinson (another side character, it seems, though not one I knew since I only read the Christmas stories), and a street doctor named Crow, and begins combing the London underworld.
It takes around half the story (already a short story) for an murder that needs to be solved to appear, and even then, almost the entirety of the "investigation" is them trying to figure out who got murdered. There's no satisfying laying out of clues or snap of the pieces clicking into place, and so it does not really function as a murder mystery at all. The "adventure" bits of investigating in the seamy underbelly of London society functions little better. Perry clearly couldn't decide how dark and detailed she wanted to go with depicting the vices and depravities of that world, so we get a few disturbing details, but mostly a morass of generic drunkards and references to prostitution and opium usage. The "power structure" of that world is left so vague it confuses the ending greatly. People are supposed to be afraid of the "Shadow Man," a powerful figure called Shadwell, but it's not clear why. He controls one character through cocaine, but what his hold over Lucian Wentworth is goes unexplained - a terrible flaw when the entire climax hinges on it. Is Lucian afraid Shadwell will kill him? Kill his loved ones? He doesn't seem to use drugs and despite his feelings for Lily seems perfectly willing to leave her behind if needed. What beyond his own shame is keeping him in Shadwell's world?
The themes of redemption fare better in Perry's exploration of Squeaky's character. Once the owner of a brothel, now on the road to "respectability," the adventure brings him face to face with the kinds of suffering his past actions were responsible for, forcing him to realize he can't pretend to have been "not that bad." His emotional journey is compelling and the protective bond he forms with Bessie is touching, even if the girl's inclusion in the story only highlights the madonna/whore dichotomy throughout the book. Where men get to be morally complex characters who deserve redemption arcs, women are either high-minded innocents who need protection or they are lost souls who deserve equal measures of pity and disgust, but not redemption. I know from reading Perry's other works that this is not characteristic of her work, otherwise I would have let it bother me more, but it soils and spoils this one.
The very crux of the story threw my opposition with Perry's beliefs into sharp relief. A continual theme of the book is that for someone to be redeemed, they must "climb out of hell," perhaps with some help, but ultimately under their own power. They have to earn their forgiveness by making amends, and it is entirely possible to trangress so far that no redemption or forgiveness is possible. While cloaked in metaphor, it seems clear that Perry means this both in a social (human relationships) and a spiritual sense. Seeing Perry's view so laid out made me inexpressibly grateful for grace, richly and freely given, divine grace that rescues the most sordid sinner, as well as the power of the Holy Spirit which enables us to live out our faith. The idea of trying to "bootstrap" one's way to redemption, and then to desperately try to cling on to "goodness" is both terrible and sad.
While I didn't really enjoy the book, it did prompt me to think deeply about my faith, redemption, and the meaning of Christmas, and that can only ever be a good thing.