Download PDF Silent in the Grave: A Historical Romance (A Lady Julia Grey Mystery Book 1) By Deanna Raybourn
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Ebook About Only from New York Times bestselling author Deanna Raybourn, go back to where it all began with the original Lady Julia Grey historical mystery series.“Let the wicked be ashamed, and let them be silent in the grave.” These ominous words are the last threat that Sir Edward Grey receives from his killer. Before he can show them to Nicholas Brisbane, the private inquiry agent he has retained for his protection, he collapses and dies at his London home, in the presence of his wife, Julia, and a roomful of dinner guests. Prepared to accept that Edward’s death was due to a long-standing physical infirmity, Julia is outraged when Brisbane visits and suggests that her husband was murdered. It is a reaction she comes to regret when she discovers damning evidence for herself, and realizes the truth.Determined to bring the murderer to justice, Julia engages the enigmatic Brisbane to help her investigate Edward’s demise. Dismissing his warnings that the investigation will be difficult, if not impossible, Julia presses forward, following a trail of clues that lead her to even more unpleasant truths, and ever closer to a killer who waits expectantly for her arrival.Previously published.Don’t miss the complete Lady Julia Grey mystery series by Deanna Raybourn!Book # 1: Silent in the GraveBook # 2: Silent in the SanctuaryBook # 3: Silent on the MoorBook # 3.5: Midsummer Night (novella)Book # 4: Dark Road to DarjeelingBook # 5: The Dark EnquiryBook # 5.5: Silent Night (novella)Book # 5.6: Twelfth Night (novella)Book # 5.7: Bonfire Night (novella)Book Silent in the Grave: A Historical Romance (A Lady Julia Grey Mystery Book 1) Review :
Having just read both And Only to Deceive, by Tasha Alexander, and Silent in the Grave, by Deanna Raybourn, I wanted to compare the two, as they both begin with two newly-minted widows impatient with living in mourning and eventually deciding to investigate their late husbands' legacies. Lady Emily is the protagonist from And Only to Deceive, and Lady Julia is the protagonist from Silent in the Grave, but AOD contains many ancient Greek allusions, and its protagonist is also known as Kallista, so I'll call her that for the sake of clarity here.Raybourn and Alexander's novels possess many similarities. Both authors do a fine job of evoking the social conventions and atmosphere of Victorian England. Neither one describes the setting so well that one suspects either is a literature or history professor, but both authors are gifted enough with description that the reader is able to feel comfortable in the time and place. Both main characters weren't particularly attached to their husbands, although interestingly enough one woman comes to dramatically despise certain aspects of her husband's character by the end of the novel, while the other woman comes to actually fall in love with her dead husband by the end of her story. One husband turns out to be a significantly more honorable human being than the other. Both widows, however, turn out to be rather similar. Both women aren't particularly thrilled about mourning husbands that they didn't particularly love, and both widows are wealthy and seek slightly more independence through choices of either friends, new clothes and hairstyles, etc.As far as differences in plot and character change go, after the death of her husband, Kallista goes to the British Museum and discovers a newfound interest for ancient Greek art and literature. She cultivates this passion and accordingly makes scholarly friends, but her love interest, Colin Hargreaves, is always in the background running mysterious errands. Colin is an upper-class neighbor of hers who was her husband's best friend. Meanwhile, Lady Julia is contacted by the dashing but unpredictable Nicholas Brisbane and informed that her husband's death was murder. Lady Julia subsequently visits Brisbane several times in his rooms and endures several different interrogations. Both husbands, in the end, are (surprise!) found to have been murdered.I found Kallista to be a more interesting character than Lady Julia, probably because I love most things to do with the ancient Greek world, and I liked how the Greek art and literature plot unfolded in Kallista's story. I thought that Brisbane was definitely a more interesting character than Hargreaves, however: it would seem that Alexander's female protagonist was more interesting than the love interest in her story, and Raybourn's male love interest was more interesting than her protagonist, at least in this first novel in the series.What would Keats and Aristotle say? Both these novels were fun. I think the pace was a little better in AOD, but that novel also had a gaggle of anachronistic-sounding girlfriends that surrounded the protagonist as well, so there are points both for and against that novel's superiority. I liked how both authors genuinely attempted to show how both widows felt badly that they didn't mourn their husbands more, and that both women were able to become more themselves once their husbands were gone. Neither novel really seemed to contain magnificent greatness of either content or execution, but both were enjoyable and worth reading. If you're looking for a female protagonist in a series with more authentic period detail and somewhat better writing, as well as more humor but less depth, I'd suggest the Amelia Peabody series. That series, however, is set in Victorian British Egypt, not England. The book starts out beautifully, the author is so talented a writer. She can pull the reader in from the get-go and absolutely enthrall with words. How few writers can do that?I stopped reading about page 200. This review is obviously not an assessment of the author's talent, but of my preferences in reading. The book was too slow-moving for me in terms of plot, character development, and relationship building. By page 200, I wanted to be further along in all of those areas. I was not engaged in the plot; I still had no idea who the murderer was or even how it was committed. I can honestly say I knew no more about the murder than I did after reading the first 10 pages.I had no objection to the romantic elements whatsoever (sex or not, I don't care, but I like the romantic elements. It's pretty obvious from the beginning this is a book with romantic elements, if you don't like that, find another book), but they were almost non-existent. I would have liked to have seen the relationship further developed by this point. Brisbane and Lady Jane didn't have to like each other, but I wanted more time with the hero and heroine. Duh, these are the two characters I am most interested in. Brisbane was very well drawn: mysterious, interesting, sexy, intelligent, handsome, all those things I want a hero to be. He was the best part of the book for me. But we spent very little time with him and instead with all the characters I was not as interested in: the lesbian sister (don't care, I have no objection to her being lesbian, I just don't care. I think she is a reasonably interesting character, but wait to delve deeper into her character until you have satisfied me with the main characters/plot).There is a LOT of introspection with the main character. A LOT. It goes on and on but goes nowhere. The book is told in first person (Lady Jane), so I have been inside her head for 200 pages and I still don't know her and have very little sympathy for her. Am I supposed to feel sorry for her? I don't. Am I supposed to like her? I don't exactly dislike her, but I definitely haven't warmed to her. It's difficult to bond with someone whom I don't know; there is little clarity in her character. It is not even clear if Lady Jane's relationship with her deceased husband was good or bad! I don't even know if she was happily married or if her husband was a worthy person or a scoundrel. Half-way through the book! I need to be liking the heroine by now and relating to her. I'm not. So far as I can tell, Lady Jane is a privileged, wealthy person who has had a reasonably good life married to her best friend (she was not abused, her marriage may not have been the most passionate) in an era when many people suffered. She's now a young, rich widow who is not particularly missing her husband. Lady Jane feels a little bit outside her family circle, who doesn't? And who doesn't feel a little outcasted in some area of her life? Her hardships (almost non-existent, her husband came on a little too strong in her choice of fashion. Now that he's gone, she can do her hair the way she wants to. It's not clear that she couldn't have before--i.e., was the fault with her or with him?--but for her own lack of confidence/personality, which she certainly exhibited with scolding and indifference when her husband was dying on the floor. And why wasn't she with him in his dying moments?) Her personality needs to be clearer if I'm going to be sympathetic to this character. The author is holding back too much information and to what purpose I don't know. I should be hooked by now. I won't say I disliked Lady Jane--I was fairly ambivalent--and confused. I can like someone who is vastly different from me if I can understand her perspective, but the author's mystery around Lady Jane spilled over into my ambivalent feelings for the character.In all fairness, I might have loved the book had I finished it. If this book had had a more compelling mystery from the start, I might have finished it. I finished several of Emily Brightwell's books, who isn't nearly as good a writer, because I wanted to solve the mystery. I also finished a Kate Ross book for the same reason: the mystery was engaging. Ross isn't as sophisticated a writer as Raybourn either.This is just one reader's opinion, and I am a very picky reader, often not liking books other people love. All I know for certain is that this could have been a book I would LOVE with a little tweaking. The author certainly has the talent to make it so. 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