Though it brings the horrors of the other Victorians perhaps too literally to life, this first novel from historian Wilson...

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THE DARK CLUE

This epistolary sequel to The Woman in White sets Wilkie Collins’s hero the herculean task of writing a life of the legendary English painter J.M.W. Turner.

In response to the fears of Lady Elizabeth Eastlake, wife of the National Gallery director, that Walter Thornbury’s forthcoming biography of Turner will be too vitriolic to take its subject’s true measure, Walter Hartright, himself an artist, agrees to undertake a life of his own. The task of reconstructing his subject from the clues he can find in the painter’s lodgings and studios and from among his friends and colleagues originally seems daunting enough, since some acquaintances, like the painter George Jones, refuse to talk to Walter; others, like influential critic John Ruskin, speak so oracularly that they are little more helpful; and others still, like the artist’s housekeeper Mrs. Booth, will unburden themselves only to Walter’s sister-in-law Marian Halcombe. But the real difficulties lie deeper. Turner, who inspired wildly contradictory opinions while he was alive, had a pathological fear of public appearances—he hated being painted, was never photographed under circumstances that would identify him as that Turner, and often conducted his irregular domestic arrangements under an alias—all of which made disagreements about him nearly impossible to resolve. As Walter traces the artist’s steps through country villas and London alleys, naively secure in his determination to unearth the truth about this wild genius, he sinks instead more and more deeply into the life he is supposed to be investigating, neglecting his fairy-tale wife Laura and their two children back in Limmeridge. Not even Marian, when she takes over the research from Walter, can avoid Turner’s infernal pull.

Though it brings the horrors of the other Victorians perhaps too literally to life, this first novel from historian Wilson (The Earth Shall Weep, 1999), taking its cue as much from A.S. Byatt as from Collins, is a powerfully somber meditation on the impossibility of writing a life.

Pub Date: Nov. 1, 2001

ISBN: 0-87113-831-X

Page Count: 400

Publisher: Atlantic Monthly

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 1, 2001

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Forget about solving all these crimes; the signal triumph here is (spoiler) the heroine’s survival.

A CONSPIRACY OF BONES

Another sweltering month in Charlotte, another boatload of mysteries past and present for overworked, overstressed forensic anthropologist Temperance Brennan.

A week after the night she chases but fails to catch a mysterious trespasser outside her town house, some unknown party texts Tempe four images of a corpse that looks as if it’s been chewed by wild hogs, because it has been. Showboat Medical Examiner Margot Heavner makes it clear that, breaking with her department’s earlier practice (The Bone Collection, 2016, etc.), she has no intention of calling in Tempe as a consultant and promptly identifies the faceless body herself as that of a young Asian man. Nettled by several errors in Heavner’s analysis, and even more by her willingness to share the gory details at a press conference, Tempe launches her own investigation, which is not so much off the books as against the books. Heavner isn’t exactly mollified when Tempe, aided by retired police detective Skinny Slidell and a host of experts, puts a name to the dead man. But the hints of other crimes Tempe’s identification uncovers, particularly crimes against children, spur her on to redouble her efforts despite the new M.E.’s splenetic outbursts. Before he died, it seems, Felix Vodyanov was linked to a passenger ferry that sank in 1994, an even earlier U.S. government project to research biological agents that could control human behavior, the hinky spiritual retreat Sparkling Waters, the dark web site DeepUnder, and the disappearances of at least four schoolchildren, two of whom have also turned up dead. And why on earth was Vodyanov carrying Tempe’s own contact information? The mounting evidence of ever more and ever worse skulduggery will pull Tempe deeper and deeper down what even she sees as a rabbit hole before she confronts a ringleader implicated in “Drugs. Fraud. Breaking and entering. Arson. Kidnapping. How does attempted murder sound?”

Forget about solving all these crimes; the signal triumph here is (spoiler) the heroine’s survival.

Pub Date: March 17, 2020

ISBN: 978-1-9821-3888-2

Page Count: 352

Publisher: Scribner

Review Posted Online: Dec. 23, 2019

Kirkus Reviews Issue: Jan. 15, 2020

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The racism, classism, and sexism of 50 years ago wrapped up in a stylish, sexy, suspenseful period drama about a newsroom...

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LADY IN THE LAKE

Baltimore in the 1960s is the setting for this historical fiction about a real-life unsolved drowning.

In her most ambitious work to date, Lippman (Sunburn, 2018, etc.) tells the story of Maddie Schwartz, an attractive 37-year-old Jewish housewife who abruptly leaves her husband and son to pursue a long-held ambition to be a journalist, and Cleo Sherwood, an African-American cocktail waitress about whom little is known. Sherwood's body was found in a lake in a city park months after she disappeared, and while no one else seems to care enough to investigate, Maddie becomes obsessed—partly due to certain similarities she perceives between her life and Cleo's, partly due to her faith in her own detective skills. The story unfolds from Maddie's point of view as well as that of Cleo's ghost, who seems to be watching from behind the scenes, commenting acerbically on Maddie's nosing around like a bull in a china shop after getting a job at one of the city papers. Added to these are a chorus of Baltimore characters who make vivid one-time appearances: a jewelry store clerk, an about-to-be-murdered schoolgirl, "Mr. Helpline," a bartender, a political operative, a waitress, a Baltimore Oriole, the first African-American female policewoman (these last two are based on real people), and many more. Maddie's ambition propels her forward despite the cost to others, including the family of the deceased and her own secret lover, a black policeman. Lippman's high-def depiction of 1960s Baltimore and the atmosphere of the newsroom at that time—she interviewed associates of her father, Baltimore Sun journalist Theo Lippman Jr., for the details—ground the book in fascinating historical fact.The literary gambit she balances atop that foundation—the collage of voices—works impressively, showcasing the author's gift for rhythms of speech. The story is bigger than the crime, and the crime is bigger than its solution, making Lippman's skill as a mystery novelist work as icing on the cake.

The racism, classism, and sexism of 50 years ago wrapped up in a stylish, sexy, suspenseful period drama about a newsroom and the city it covers.

Pub Date: July 23, 2019

ISBN: 978-0-06-239001-1

Page Count: 352

Publisher: Morrow/HarperCollins

Review Posted Online: March 31, 2019

Kirkus Reviews Issue: April 15, 2019

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