Product Description

Product Details

• Amazon Sales Rank: #372958 in Books
• Published on: 2006-08-22
• Released on: 2006-08-22
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 336 pages

From Publishers Weekly
In Winspear's winning fourth historical to star British psychologist and PI Maisie Dobbs (after 2005's Pardonable Lies), Georgiana Bassington-Hope, a pioneering female war reporter who was a classmate of Maisie's at Girton College (Cambridge), asks Maisie to investigate the death of her twin brother, Nicholas Bassington-Hope, a WWI veteran and artist. The police have ruled Nick's fall from a scaffold at a Mayfair gallery before his masterpiece could be unveiled an accident, but Georgiana suspects foul play. As Maisie delves into the art world and the dead man's unusual family, the author provides an insightful look at class divisions and dangerous political undercurrents of homegrown fascism in early 1930s Britain. Some might wish that the whodunit side of the story was more developed, but fans of quality period fiction will be well satisfied. (Aug.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
Class divisions and the trauma of war are compelling themes in Winspear's fourth offering featuring psychologist and investigator Maisie Dobbs (following Pardonable Lies, 2005). Dobbs, who earned a degree from Cambridge and served as a nurse during World War I, employs both meditation and intuition to crack difficult cases. (Her suspicions are often manifested in a "sensation at the nape of her neck, as if a colony of ants were beating a path from one shoulder to the other.") The novel opens in late 1930, as Georgina Bassington-Hope, a well-to-do former wartime journalist, consults Maisie following the death of her twin brother, Nick, a painter commissioned to design war propaganda after sustaining injuries in combat. (Georgina doubts police reports that claim her brother fell from scaffolding while installing a major exhibition at a local gallery.) As Maisie searches for clues among Georgina's relatives, she grows increasingly troubled by the family's shameless extravagance during trying economic times. A cast of vivid characters and plenty of rich period detail boost Winspear's somewhat lethargic plot. Allison Block
Copyright © American Library Association. All rights reserved

Review

Customer Reviews

"Nick's art was his exorcism...Every time a picture was born of his memory, it was as if something dark was laid to rest."
Set in post-World War I England, the Maisie Dobbs mysteries keep getting better and better--more fully developed, more complex, and more illustrative of life in that between-wars era. In this fourth novel, Maisie, a former army nurse, now in her late twenties, is an "inquiry agent," or private detective, who has been contacted by wealthy Georgina Bassington-Hope following the death of her brother Nick. Nick, a highly regarded artist, died in a fall from the scaffolding he was using to mount a new exhibition, and Georgina, defying her family and the police report, believes he was pushed.

Using straight-forward, workmanlike prose, author Jacqueline Winspear develops the story and a motley cast of characters which offers a broad cross section of the society between world wars--from the wealthy Bassington-Hopes, who can afford to be frivolous in their arty lives, to the family of Billy Beale, a poor man who supports his large family as Maisie's assistant. The exotic world of artists, gallery owners, and buyers, comes alive, as does the world of fishermen on the Kentish coast, where Nick Bassington-Hope has his studio, and the reader quickly develops an awareness of the stratification pervading society and the concern for one's "place" in it.

As Maisie begins her investigation of Nick's death, Winspear juggles several overlapping plot threads simultaneously. Nick's exhibition was to feature his "masterpiece," thought to be a triptych about his experiences in the war, a work of art so secret no one has ever seen it--and no one has found it since his death. The relationships of Nick Bassington-Hope with his family and friends; the problems of Billy Beale's family in an overcrowded and unhealthy tenement; Maisie's new suitor and romance; the centuries-long history of smuggling on the Kentish coast; and the search for Nick's missing masterpiece keep the action lively from beginning to end, with plenty of tugs at the heartstrings as sorrowful events, some associated with the war, unfold.

Maisie, as proper and chaste as the heroines of novels actually written in the 1930s, is imaginative and independent, always polite and "lady-like." Genuinely fond of Billy Beale's family, she nevertheless maintains a professional distance as his employer, not wanting to insult his pride. The novel feels "cozy," in its intimacy and family orientation, with care paid to characters' feelings and domestic conflicts. Though the novel has moments of excitement, the reader is left, at the end, with as much appreciation for its old-fashioned charm as for its mystery. n Mary Whipple

A dry watershed
This is Jacqueline Winspear's fourth novel about Maisie Dobbs, "psychologist and investigator." Fans of the series may be slightly disappointed, but should still enjoy it. First-time readers will wonder what all the fuss is about. For, as I suspected already in the third novel, PARDONABLE LIES, the narrative span is becoming difficult to sustain over four books.

But Winspear's sense of period seldom lets her down, and there are still many interesting things here: her view of the vibrant art scene between the wars or the heady night world of jazz clubs and cocktails, contrasted with the effect of the Depression on the out-of-work poor and the lamentable state of public health. And those parts of the story which have to do with the rags-to-riches rise of the heroine (housemaid, war nurse, Canbridge graduate, private investigator) are mercifully shorter -- though Maisie's emotional problems would mean very little to those who had not read the earlier books. But Winspear seems caught on a difficult watershed: on the one hand, continuing to write about the legacy of the First War, which no longer has the resonance that it had in her first books; on the other, exploring the life of a nation moving inexorably towards the Second. There are aspects of both here, but they do not blend easily. If she is to continue, the author needs to move forward rather than back -- and also develop the inner life of her heroine so as to make her interesting for who she is now, rather than as the product of previous books in the series.

Readers who want to read more about the role of artists in the first War -- an important element in this book -- might be interested in REGENERATION by Pat Barker. Although Barker's novel deals with poets (Sassoon and Owen among them) rather than painters, it tackles head-on the conflict between war's brutality and artistic sensitivity, which has been a persistent theme in Winspear's books, and a moving one.

Better and Better
I just finished reading this book, and had to contribute my two cents. I loved this book! I think it is the best yet in a series that is head and shoulders above most mystery series. Maisie, already a complex character to begin with, becomes richer and deeper in this recent book. So many facets of the deepening worldwide depression are interwoven with the echoes of World War 1, even as faint echoes of the rise of fascism in Germany are making themselves felt, creating a many-layered mystery. In response to the reviewer who felt that Maisie was not as likeable in this book, I did not find that to be the case at all. I DID notice something of that transformation in the previous book in this series, Pardonable Lies, but then, Maisie was undergoing something of an emotional breakdown at that juncture, making it a somewhat darker book. In this book, Maisie seemed to be back on track, and beginning to open to new ideas and possibilities which perhaps the author will explore in later books. I can't wait for the next one!