Ruth Rendell, dopo otto anni, torna con lo pseudonimo di Barbara Vine, il che, come al solito, coincide con un testo che tende a liberarsi dal mystery classico. Qui c'è addirittura un libro nel libro; il contenente ambientato al giorno d'oggi, il contenuto negli anni trenta. Dal loro confronto traspare il cambiamento avvenuto nella società britannica riguardo i temi delle ragazze-madri e dell'omosessualità. Scritto con la consueta maestria, non sfigurerebbe accanto ai più noti titoli della letteratura vittoriana....Continua
The book started out good with a brother and sister in modern day inheriting a house from their relative... then things went downhill when the narrator gave away the end of the story (The Child's Child) we hadn't even read yet. Why would the author ruin the suspense by telling us when we were going to be shown the scene later on? I don't understand why the editor didn't change this.
So after we are introduced to the brother and sister, the book then shifts to the privately published story, The Child's Child, which is about a gay man and his pregnant unmarried sister set just before WWII. This makes up the majority of the book, but I didn't like the characters and reading about their struggles was not enjoyable. It also seemed kind of pointless since we were already told the climax of the story.
When finally it was back to modern day (the strongest part of the book), the ending wrapped up so quickly. There should have been at least another chapter or two. I finished reading in a day, but I didn't like it. I guess the only good thing was that it kept me turning the pages....Continua