THE MURDER DANCE

A neglected Elizabethan manor house harbors a horrific history of bacchanalian excess—and ritualistic homicide.

Once he gets over being gobsmacked by the news that he’s inherited The Tabor, a "house that no one in [his] family seemed ever to have seen, and that most of them said was only a legend," Quentin Rivers’ second thought is how to break this news to his delicate cousin, Zillah, whom he’s conscientiously protected since both were orphaned decades ago. Zillah has secretly chafed under Quentin’s strict protection and jealousy and has banked her future on the promise of inheriting The Tabor in order to escape him. She also knows the dark history of the house, which she desperately hopes Quentin never learns. Enter music researcher Phineas Fox, whose girlfriend, publicist Arabella Tallis, Quentin has asked to advise him on his plan to turn The Tabor into a restaurant and tourist attraction. In short order, Phin has discovered ominous legends surrounding The Tabor involving something called the Murder Dance. As in her previous Phineas Fox novels, Rayne interweaves narratives from the past with the contemporary plot. The diary of the charismatic seducer Greenberry and the journal of voluptuous Rosalind Rivers, whose portrait still adorns The Tabor—both written around 1600—nicely counterpoint the affectionate banter and genuine chemistry of Phin and Arabella. References to Chaucer, Dickens, Shakespeare, etc. enliven the narrative. The unpredictability of the eerie, waiflike Zillah adds an additional layer of suspense.

A fascinating history is folded into a spectral mystery.