Customer Reviews

Silent on the Moor (A Lady Julia Grey Novel)

5 star:		(58)
4 star:		(28)
3 star:		(7)
2 star:		(5)
1 star:		(0)

 

 

Perusing the shelves at my local bookstore, I had to pinch myself when I stumbled upon Ms. Raybourn's third offering in the Lady Julia Grey series almost a month before the official release! No complaints here! Ms. Raybourn's writing is witty as ever, and the stories just get better and better.

In this tale, Lady Julia Grey travels through the Yorkshire moors to Grimsgrave, an estate newly purchased by private inquiry agent Nicholas Brisbane. After a chilling welcome by the host and residents of the manor, Lady Julia begins to unravel the dark secrets of an ancient family, while Brisbane's gypsy roots appear to be tangled in the mix. But when the Grimswater bell tolls and Brisbane's life is threatened, what other secrets will Lady Julia discover? This third installment in the Lady Julia Grey series packs a powerful punch, with suspense and intrigue, insight into Brisbane's mysterious past, more antics from Grim, the sugared-plum loving raven, and an ending sure to please fans of the series!

Ms. Raybourn's attention to Victorian detail appears flawless and I truly felt whisked away to another world, in another time. I thoroughly enjoyed this book and highly recommend it as I eagerly await the fourth installment that Ms. Raybourn assures is in the works!

A side note: This is not at all a bodice-ripping romance, but truly an excellent Victorian mystery. Personally, I prefer the original book covers for Silent in the Grave and Silent in the Sanctuary because they were more... what's the word? ... mysterious.

I don't know what the folks at MIRA were thinking putting together the new cover art for Deanna Raybourn's new book Silent On The Moor?!

I thought the cover was awful and if I hadn't read the first two books in this series I NEVER would have picked them up after seeing the cover of the third book. The pose is all wrong, the clothes are all wrong, and the man's hand is completely wrong. That dress is about a hundred years wrong, this story is set in 1888, that dress looks like it was made in 1988.

I get that the publishers might be trying to attract a larger audience by making this book appear to be a Harlequin Romance type of novel but I think it's an insult to the readers who are already fans of Deanna Raybourn's.

Please, MIRA, go back to the beautiful covers that the first two had. I would never be embarrassed to be seen in public with either of those books in my hand.

As for the story, I loved it, it's the kind of book that I wish I could savor but I never can, it's so enjoyable to read that I don't want to put it down, I didn't and sadly I was done in three days.

I love these characters and their complicated relationship. I love Julia's zest for life, her indomitable spirit and her unconventional values. Lady Julie and Nicholas Brisbane remind me of Jane Eyre and Mr. Rochester and their relationship. I enjoyed the tension and frustration between them as well as the tenderness and vulnerability.

I thought the mystery was interesting and disturbing, the characters were as charming as ever and the wit was enjoyable. If Ms Raybourn can make them all this good I will be happy to buy every last book she writes.

It's difficult for me to describe exactly how excited I was for this book to come out. SILENT ON THE MOOR was easily at the top of my most anxiously awaited books of 2009. I discovered Deanna Raybourn last year and, after blowing through the first two Julia Grey novels, have spent the last six months in that special agony reserved for the lovers of sequels. Fortunately a copy popped up at a local (ish) bookstore and I was saved from suffering through the last two weeks til its March 1st publication date.

The third installment opens with Julia's big brother Bellmont trying to talk her out of haring off to Yorkshire after Brisbane when he has made it clear, in no uncertain terms, that he does not want her anywhere near the place. Julia, of course, doesn't care a fig for Monty's scandalized pride and makes her way with all haste (and several good intentions) to the moors. Unfortunately, Brisbane's new home, Grimsgrave, is even creepier and more decrepit than he led Portia to believe in his letter. The whole place reeks of Miss Havisham's manor and, after meeting the current occupants, Julia soon realizes something is seriously amiss in this house where madness and murder walk hand in hand. Not only does she face the task of convincing Brisbane of a few increasingly important things, but Julia also finds herself uncovering hidden corpses, accepting charms from Gypsy witches, and thwarting a particularly vicious murder attempt.

Reading SILENT ON THE MOOR was an exercise in conflicting emotions. I wanted to blow right through it to the end in one sitting and I simultaneously wanted each page to last longer than it possibly could so that I could savor being back with these two characters I have come to love. I had some pretty high hopes for this one. The third book in a series such as this comes with a rather hefty share of promise resting squarely on its shoulders and can really make or a break the series as a whole, in my opinion. This one truly made it. Every hope I had was fulfilled and I found myself turning back to reread favorite passages before I was even a third of the way through the book. This practice was repeated at regular intervals for the duration--truly the mark of an excellent read around these parts. If you like literary mysteries and haven't come across this series before, for the love of all that is holy, go get them now. I am immoderately fond of them.

I thoroughly enjoyed this book, and felt that it was every bit as good as the first two in the series. I love Raybourn's writing style. Her grasp of Victorian historical details and Victorian language make this book seem very authentically Victorian. The book is full of intertextuality and references to the writings of the Brontes, which is fun for any Victorian scholar or fan of Victorian literature. The Shakespearean epigraphs throughout were cleverly chosen and work well to unite the book thematically. I actually felt that this book is much more literary than the first two. The elements of mystery and romance are as strong as in the first two books as well, and it is good to see a resolution of the romantic tension finally. Raybourn's blog indicates that this is not the final installment of Julia Grey, and I look forward to reading the next one!

I love a series that keeps getting better. There's of course, a great deal to be said about a series of books where every book is perfect and each book a slight improvement on the one before but its almost more fun to read a series where the first book isn't great but promising and the second is enchanting but not perfect and the third is better still.

And that's exactly what the Lady Julia Grey series is-something that gets better every time. To answer the obvious question-yes "Silent on the Moor" is the best of the series to date. The only thing I hated about the new book is the new cover design-which takes what was a very good mystery design that was really perfect if you read the books and made into a bodice ripper. I hate whoever made the decision to change the cover scheme.

As promised in the end of "Silent in the Sanctuary" in the third book in the series Julia heads north with her sister Portia and brother Val and assorted maids and pets to see her romantic interests Nicholas Brisbane's new home-the ancient manor of Grimsgrave. But it seems that Brisbane wasn't just being grumpy in his letter to Portia telling her not to bring Julia-the months he's been at Grimsgrave have changed him-made him even darker and gloomier than before.

And he isn't alone. Grimsgrave was the ancient seat of the Allenby family, who proudly remember that the blood of Saxon kings flows in their veins. The long centuries of interbreeding have made the family strange-maybe even mad, and very, very proud. Living on charity from Brisbane doesn't suit them.

Though Brisbane ignored her Julia soon finds herself busy cataloging the Egyptian collection of the dead heir of the Allenby's-to sell for their benefit. But while cataloging the antiques and book she finds a terrible hidden secret-one that cuts to the center of the dark heart of Grimsgrave-and Brisbane's own secret past.

Before starting this book I went back and read the first two so I wouldn't miss any little details and I'm glad I did because only in the context of the first two books can this one be truly appreciated. The writing is the same-dark mystery, light humor and lots of odd characters but this book has a lot more romance in it. And a lot of the smaller mysteries from the first two books are finally solved in this one.

I have to say the ending of this book left me wondering-is this series over? One the hand it really seems like this would be a logical stopping point but with a series still gaining fans and getting better all the time I don't see why it would be. Unless the author is going start another one. Either way I hope she keeps writing-hopefully about this family.

There was one thing that really bothered me about this book (other than the cover.) One of the more unconventional (especially for the times) relationships in the series is changed in favor of a much more traditional one. There was really no reason for this to happen in terms of plot unless the author is planning to make it a larger issue in a following book, start a new series based on this character (which would be nice if indeed this series is over) or the author was being bothered by people who where harping on the fact that such a relationship would likely not be so public in those times. But I sincerely hope that the relationship wasn't broken up over a tolerance issue in the author's character. If this is hard to understand I apologize-I don't want to give anything away.

I was very saddened when this book was over (that's another problem-it' shorter than the first two) and I hope very much that Deanna Raybourn publishes again soon. But hopefully her next book will have a better cover.

Five stars.

Lady Julia Grey just isn't going to take it any more. She's haring off to Yorkshire -- accompanied, at her father's insistence, not only by her sister, Portia, but her reluctant brother Valerius -- to find out just what enigmatic Nicholas Brisbane feels for her.

The problem? Brisbane isn't expecting her and has even instructed Portia -- who he had previously invited to help him organize his new manorhouse -- to stay away. And when the trio arrive, it's to find Brisbane already is dealing with a houseful of women, including the beauteous Ailith, the eccentric Hilda and their religious mother. The Allenby women have been left homeless by the death of their brother (an Egyptologist with some strange tastes and stranger personality quirks) but Brisbane is -- reluctantly -- sheltering them. Until Julia's arrival and her probing into the late Sir Redwall's collection of Egyptian antiquities leads to the revelation of one secret after another -- of the Allenby family and Brisbane's longstanding connection to them.

Raybourn had a hard act to follow with her third novel, but she's done a remarkable job of crafting a lively narrative chock-full of eccentric and (at least in the case of Julia and her family) appealing characters. The plot isn't quite as strong as the prior two books and occasionally strains the reader's credulity -- but never too much. Plot twists involving the relationships of Portia and her pet, Mr. Pugglesworth are each, in their own way, intriguing -- and I personally delight in the background "quorking" and antics of Julia's pet raven, Grim.

Anyone who has read & enjoyed Raybourn's novels and has yet to stumble over Tasha Alexander's novels (admittedly unlikely, but still...), should instantly follow this up with the latter's own three books, including A Fatal Waltz.

Highly recommended; despite the over-the-top Gothic setting and plot, Raybourn keeps her feet (and those of most of her characters) firmly on the ground and the book is packed with wit & just enough romance (but not as much as the rather overwrought cover seems to imply!)

The covers of the previous books in the Julia Grey series were very classy and elegant. This cover is, um, well it looks like the main character in a prom dress. Don't let the cover fool you into thinking this book is the usual mass produced, mass market, same ole, same ole romance novel. Like the other books in the series, Silent on the Moor is a great mystery full of sexual tension, surprises, and twist and turns. I do wish the book included a bit more of Julia's crazy family because they're always a lot of fun. Also, Julia has a bit more patience with Brisbane than I would have, but anyway... All in all, a real pleasure.

Except for the cover (who comes up with these things? no scene like this, no dress like this, no connection whatsoever to the book), I love every page of this, the third in the Lady Julia Gray series. The writing is impeccable...you disappear into the book. I especially love her handling of the relationship between Julia and Brisbane. Their connection advances without either of them forfeiting an iota of their strong characters. Julia is still volatile, determined and impetuous. Brisbane still sardonic, volcanic and honorable. The last chapter - an epilogue as far as the mystery goes - is my favorite. Raybourn manages to create a sense of intimacy and passion without any of the voyeuristic techniques common in other historical romances. Brava! I look forward to the next one.

I loved the first book, and I rather enjoyed the second, although I did not keep it. The third book was a moderately enjoyable read, but I am glad that I did not spend any money on it and borrowed it from the library instead.

I was excited at first, but the way Lady Julia first spoke to Brisbane has burst my happiness bubble flat. Not only she addresses him constantly as if they had been married for years, they bicker throughout the book, which feel very un-romantic. I understand the author's desire to present us with a strong, confident and mature female character, but instead I ended up reading about a woman who is a little too... confident and waaay more secure about what she is up to than I was being led to believe. Brisbane as a character is a little too heavily painted and one-sided, he is so devoid of warmth or error that I stopped caring for him half way in despite him being in danger and all the kissing scenes. I was looking for compassion, remorse, doubt, hesitation in him, but I did not see any.

It's hard to find an old-fashioned romance that doesn't suck. Silent on the Moor does not, but neither is it worth re-reading or keeping. It's quite inelegant and not nearly as thrilling compared to the first book, but if you are looking for a sweet, mild mystery with an occasional snicker-worthy twist, do borrow it from your local library. The language the book is written in is very good after all.

The final novel in Deanna Raybourn's trilogy continues Lady Julia Grey's penchant for snooping. The second book, SILENT IN THE SANCTUARY, painted her as an able pseudo-detective, solving her husband's murder at the side of private inquiry agent Nicholas Brisbane. Fascinated by the dark, handsome man, she's devastated when he leaves her family's English country estate after solving the crime. Now, Julia plans a visit to Brisbane's new home, his reward from the government for a job well done. She must learn if he shares her strong emotional feelings. Brisbane has invited her sister, Portia, to put his household in order. To her elder brother's chagrin, Julia packs for the trek to the northern England moor country. To save family face, younger brother Valerius will accompany them.

Their journey via train, wagon and farmer's cart lands the party at Grimsgrave, a dilapidated country manor home located beyond the tiny hamlet of Lesser Howlett. In disrepair, Brisbane's house is a dark, solemn testament to harsh conditions on the moors. Julia's first confrontation with Brisbane is an unpleasant one, and he clearly wishes her to depart. To complicate the unconventional reception, Lady Ailith Allenby, her sister and their mother complete the icy welcome. The Allenby family has owned Grimsgrave since Saxon times but has been forced to sell when their fortunes disappeared. Sir Redwall Allenby, Ailith's brother, died unexpectedly, leaving the women without financial security.

Ailith's regal beauty lends to her psychological mystique. In friendship, she offers Julia a tour of the run-down estate, walking in the gardens and onto the moors. There, they go to the nearby cottage home of Rosalie Smith, a gypsy woman who conjures herbal preparations for multiple ailments and has prepared a medicinal for Ailith's mother's rheumatism. Julia warms to the Gypsy, feeling a connection between her and Brisbane.

The format of SILENT ON THE MOOR follows the pattern of earlier Lady Julia Grey novels. Each chapter is headed with intricate floral design followed by a quote from William Shakespeare's works that pertains to the action appropriate to that particular section. To the reader, anticipating the coming events is like solving a puzzle.

Raybourn presents numerous characters who each embellish the plot but do not distract. From the innkeeper's family to Allenby cousin Godwin, each secondary figure enhances the importance of the primary characters.

Brisbane leaves for business in Scotland, hoping Julia will become bored and return to London. But he underestimates her tenacity. She takes on the task of cataloging the deceased Lord Allenby's vast collection of Egyptian relics, which is gathering dust; money from their sale will furnish a new home for the Allenby women. While doing this, she discovers something that will unearth Allenby family secrets. In a secret Priest's Hole in the wall, she opens a tiny Egyptian burial cask containing mummified remains. Mystified, she carefully replaces it in the wall.

Upon his return, Brisbane suffers a debilitating illness and lingers near death. With no certain cure available, Julia seeks Rosalie's help, hoping the gypsy woman has a potion to cure him. When a weakened Brisbane makes a slow recovery, Julia shares her discovery in the Egyptian artifacts with him. Together, they solve a mystery that will shatter the Allenby family tree. Julia's quest is to conquer Brisbane's childhood demons. His ties to Grimsgrave wind backwards through both families' histories, blending their stories into a complicated maze. The Allenby family tree was rooted in purity, while Brisbane's trailed from gypsy beginnings.

True to the English "whodunit" style, Raybourn plants suspicion in numerous places. Details congeal them into final solutions by the book's conclusion. Setting plays an integral part in the story. Windswept, boggy moors provide natural terrains that enhance the plot line, and the bleak, foggy landscape rises in sharp contrast to Julia's bright personality. Undaunted by obstacles thrown at her, she seeks new ways to make Brisbane open to her affection. Although their romantic relationship remains a basic element in SILENT ON THE MOOR, Raybourn binds Julia and Brisbane in a professional one. The two partner as detectives to untangle the web that threatens their personal union.

The question will remain open as to whether or not Raybourn will write Lady Julia Grey into future series adventures. A likable heroine, she's a character with the nuances of a modern woman. She knows what she wants and streaks forward to get it.