From Publishers Weekly
Victorian writers Wilkie Collins and Charles Dickens join forces to solve the murder of a feminist in their third well-crafted adventure. Collins, who narrates, accompanies Dickens to Angela Burdett-Coutts's Home for Fallen Women in the country to retrieve 16-year-old actress Ellen Ternan, acquitted of murder in The Highwayman and Mr. Dickens and with whom Dickens is besotted. They learn that Burdett-Coutts, the owner of one of England's largest banks, has been threatened by an anonymous note. Back in London, they turn the note over to Inspector Field "of the Protectives" but worry more about the Women's Emancipation Society meetings attended by Ternan and the young former prostitute who is now Collins's inamorata. When a young feminist is found fatally strangled at the scene of a robbery at Coutts Bank, Ternan, whose scarf was the murder weapon, is arrested. Aghast, Wilkie and Dickens interview other Emancipation Society members to find the truth. Such eminent Victorians as Florence Nightingale and Dante Gabriel Rossetti make appearances in this highly footnoted caper in which the historical setting and mores get more attention than plot. Palmer exposes the era's sexual double standards through Collins's defense of his and Dickens's illicit love affairs and through his depictions of the lesbian performances put on for upper-crust patrons.
Copyright 1996 Reed Business Information, Inc.
This is the third in a series of mysteries purported to have been found among the papers of novelist Wilkie Collins' solicitor. Supposedly unpublished journals written by Collins, the manuscripts describe the sleuthing adventures of Collins and his friend Charles Dickens. As in the previous installments, Dickens takes on the role of Sherlock Holmes while Collins narrates the tale and serves as Dickens' Watson. This case is a steamy one with Dickens' lover, actress Ellen Ternan, accused of murder. Set against the background of the Victorian feminist movement (and featuring such "characters" as Florence Nightingale and Marian Evans), the story offers not only a mystery but also a look at some of the more prurient aspects of nineteenth-century London society, including voyeurism and lesbianism. (Some modern readers may be surprised to learn that freethinkers were roaming about during the supposedly straitlaced Victorian era.) Atmospheric and cunningly plotted, this is an absorbing entry in the celebrity-as-detective genre.
Ilene Cooper