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3.94 AVERAGE
3.94 AVERAGE
dark
mysterious
emotional
mysterious
medium-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Yes
Another excellent book in a fabulous series. Elly Griffiths can do no wrong in my eyes. In this book Ruth Galloway becomes a reluctant tv personality when the bones of a Victorian child murderess are found in the grounds of Norwich Castle, and the dig is filmed as part of a tv series. I love these crime thrillers which have their roots firmly in the past. The archaeological details are fascinating, and then there's a modern day crime investigation as well.
The characters are brilliantly drawn, and the descriptions of Norfolk are wonderful. The narration of the audio version by Claire Corbett is outstanding (I love her voice for Ruth's daughter, Kate!).
Can't wait to listen to the next in the series :-)
The characters are brilliantly drawn, and the descriptions of Norfolk are wonderful. The narration of the audio version by Claire Corbett is outstanding (I love her voice for Ruth's daughter, Kate!).
Can't wait to listen to the next in the series :-)
I'm so disappointed... in myself for wolfing this down so quickly! Now I have to contend myself with a long wait for the next installment in the excellent series, a definite favorite when it comes to mystery authors.
The story of Ruth and Co. really develops with every book. The characters are multi-dimensional and therefore come across as very real and relatable, in many cases, too.
THE OUTCAST DEAD draws Ruth and Nelson into a mystery surrounding missing children, both from the past (as a result of Ruth's newest excavation) and the present, when a child goes missing. Inevitably, this brings back bad memories for both, and anyone who has read THE CROSSING PLACES will know what I mean.
Elly Griffiths is one of the rare writers who is able to successfully blend so many facets of the past and present together and create stories which are engaging, thoughtful, and I would think accessible and interesting to men and women readers of most any age group.
I would recommend reading these books in order, as the characters do change, and years go by as the story progresses.
Ruth, Cathbad, Nelson, and even a few newer ones are all characters I wish I could meet, and it is almost surprising to me again and again to realize that they are, in fact, quite fictional;-) Definitely one of my favorite books this year so far!
Find more reviews and bookish fun at http://www.princessandpen.com
The story of Ruth and Co. really develops with every book. The characters are multi-dimensional and therefore come across as very real and relatable, in many cases, too.
THE OUTCAST DEAD draws Ruth and Nelson into a mystery surrounding missing children, both from the past (as a result of Ruth's newest excavation) and the present, when a child goes missing. Inevitably, this brings back bad memories for both, and anyone who has read THE CROSSING PLACES will know what I mean.
Elly Griffiths is one of the rare writers who is able to successfully blend so many facets of the past and present together and create stories which are engaging, thoughtful, and I would think accessible and interesting to men and women readers of most any age group.
I would recommend reading these books in order, as the characters do change, and years go by as the story progresses.
Ruth, Cathbad, Nelson, and even a few newer ones are all characters I wish I could meet, and it is almost surprising to me again and again to realize that they are, in fact, quite fictional;-) Definitely one of my favorite books this year so far!
Find more reviews and bookish fun at http://www.princessandpen.com
I enjoyed this one more than previous installments. Some of the sections about side characters drug on for me. It seems like the cast of characters surrounding the lead all get their time in the spotlight, but unlike something like Gamache I really don't care about any of them. Maybe it's because they aren't distinct enough, or because they aren't really that interesting, but I don't care about who Tim looks at at the pool or who Clough is dating. Yet I'm sure they will continue to be focused on throughout the series. To me then it's really the mystery in the present and past that has to carry things for me, and this one was more interesting than prior ones for me.
Back on top form…
When archaeologist Ruth Galloway discovers what she believes to be the body of a long-dead murderess, her find becomes the subject of a TV documentary on Women Who Kill. Meantime in the present day, a young child has died and DCI Harry Nelson suspects he may have been murdered by his mother. Still haunted by the memory of the death of Scarlet Henderson ([b:The Crossing Places|6688087|The Crossing Places (Ruth Galloway, #1)|Elly Griffiths|https://d202m5krfqbpi5.cloudfront.net/books/1349088962s/6688087.jpg|5851700]), Nelson is struggling to deal with this case, especially since there is very little evidence to prove how little David died. And when another child is abducted, the tension really starts to mount…
After the slight disappointment I felt with Elly Griffiths’ last outing, [b:A Dying Fall|15814458|A Dying Fall|Elly Griffiths|https://d202m5krfqbpi5.cloudfront.net/books/1348098482s/15814458.jpg|21540893], I thought the Ruth Galloway series might have run its course. But I’m delighted to say that this one is right back up to the standard of the earlier books in the series – a thoroughly enjoyable and well written novel with very strong characterisation throughout. Ruth has always been a great character but had got a bit bogged down in mild misery and angst, especially about her weight. Here, though, her senses of both humour and proportion seem to have re-asserted themselves and she’s enjoying life. Her previous boyfriend Max has disappeared from the scene, with no tears of regret from this reader; and a new romance might be on the cards with Frank, an American historian presenting the documentary – who apparently looks more like George Clooney than any other man in Norfolk! Kate is now a talking toddler, and Griffiths writes very realistically about the pressures of being a working single mother without laying it on too thick.
I still have a couple of grumbles about the series. Firstly, there’s the occasional slightly mystical element introduced which doesn’t work for me, but that’s a matter of personal preference rather than a criticism, and I was glad to see that Cathbad the druid still gets involved, even though he’s now living in Lancashire. My second grumble is more serious, and that’s that Griffiths continues to use the clunky and stilted present tense. To some degree, I forgive her – she was one of the first to start this annoying trend so at least she can’t be accused of jumping on the bandwagon; but oh, how I wish she and all the other authors who overuse this artificial technique would jump off it now. It’s been done – it’s not original any more.
The plot works well, though Griffiths has of course trodden the ground of missing and dead children before. Through the archaeological strand, we find out about Mother Hook, a (fictional) Victorian baby-farmer – hanged for the murder of a child in her care. Frank, though, thinks she has been the subject of an injustice and is looking for Ruth to help find archaeological evidence that will back up his belief. Ruth’s involvement in the present-day investigation relies too much on coincidence, but that’s always going to be a problem when the main protagonist is not a member of the police, and on the whole Griffiths has made it work much more convincingly this time around. The solution, though, comes out of nowhere – this could not be called a fairplay novel – but it still works and provides a satisfying ending.
Mini-grumbles aside, this is a hugely enjoyable read and it’s great to see both Griffiths and Ruth back on top form, putting this series firmly back onto my list of must-reads. Highly recommended.
NB This book was provided for review by the publisher, Quercus.
www.fictionfanblog.wordpress.com
When archaeologist Ruth Galloway discovers what she believes to be the body of a long-dead murderess, her find becomes the subject of a TV documentary on Women Who Kill. Meantime in the present day, a young child has died and DCI Harry Nelson suspects he may have been murdered by his mother. Still haunted by the memory of the death of Scarlet Henderson ([b:The Crossing Places|6688087|The Crossing Places (Ruth Galloway, #1)|Elly Griffiths|https://d202m5krfqbpi5.cloudfront.net/books/1349088962s/6688087.jpg|5851700]), Nelson is struggling to deal with this case, especially since there is very little evidence to prove how little David died. And when another child is abducted, the tension really starts to mount…
After the slight disappointment I felt with Elly Griffiths’ last outing, [b:A Dying Fall|15814458|A Dying Fall|Elly Griffiths|https://d202m5krfqbpi5.cloudfront.net/books/1348098482s/15814458.jpg|21540893], I thought the Ruth Galloway series might have run its course. But I’m delighted to say that this one is right back up to the standard of the earlier books in the series – a thoroughly enjoyable and well written novel with very strong characterisation throughout. Ruth has always been a great character but had got a bit bogged down in mild misery and angst, especially about her weight. Here, though, her senses of both humour and proportion seem to have re-asserted themselves and she’s enjoying life. Her previous boyfriend Max has disappeared from the scene, with no tears of regret from this reader; and a new romance might be on the cards with Frank, an American historian presenting the documentary – who apparently looks more like George Clooney than any other man in Norfolk! Kate is now a talking toddler, and Griffiths writes very realistically about the pressures of being a working single mother without laying it on too thick.
I still have a couple of grumbles about the series. Firstly, there’s the occasional slightly mystical element introduced which doesn’t work for me, but that’s a matter of personal preference rather than a criticism, and I was glad to see that Cathbad the druid still gets involved, even though he’s now living in Lancashire. My second grumble is more serious, and that’s that Griffiths continues to use the clunky and stilted present tense. To some degree, I forgive her – she was one of the first to start this annoying trend so at least she can’t be accused of jumping on the bandwagon; but oh, how I wish she and all the other authors who overuse this artificial technique would jump off it now. It’s been done – it’s not original any more.
The plot works well, though Griffiths has of course trodden the ground of missing and dead children before. Through the archaeological strand, we find out about Mother Hook, a (fictional) Victorian baby-farmer – hanged for the murder of a child in her care. Frank, though, thinks she has been the subject of an injustice and is looking for Ruth to help find archaeological evidence that will back up his belief. Ruth’s involvement in the present-day investigation relies too much on coincidence, but that’s always going to be a problem when the main protagonist is not a member of the police, and on the whole Griffiths has made it work much more convincingly this time around. The solution, though, comes out of nowhere – this could not be called a fairplay novel – but it still works and provides a satisfying ending.
Mini-grumbles aside, this is a hugely enjoyable read and it’s great to see both Griffiths and Ruth back on top form, putting this series firmly back onto my list of must-reads. Highly recommended.
NB This book was provided for review by the publisher, Quercus.
www.fictionfanblog.wordpress.com
Another good one from Elly Griffiths.
Dr. Ruth Galloway's latest dig has turned up the bones of a probable former prisoner of Norwich Castle, used as a Victorian-era prison and hanging site. The body proves to have a hook where one hand should be, leading to the possibility the bones are those of Jemima Green, a.k.a., "Mother Hook," a childminder who was accused of murdering one or more of the abandoned children for whom she cared, and was hanged on scant evidence.
Ruth's fame-mad boss Phil is delighted when a TV crew for the program, "Women Who Kill" ask to do a series about the dig and the Mother Hook legend. Ruth is wary of TV exposure, but is soon dragged into the filming.
Elsewhere, DCI Harry Nelson and his team believe one of the parents of three infants who died in their cradles has to have killed one or more or the babies. Weirdly, unavoidable connections arise between the Donaldson case, and the Scarlet Henderson case that still haunts Nelson. Then a child abduction occurs at the home where the Donaldson's babysitter is currently employed. The kidnapper leaves a disturbing note: She's safe with me. The Childminder.
None of the suspects seems likely for the abduction, but the team works round the clock trying to find a dark-haired woman seen pushing a pram and driving off in a white car. The crisis seems over when the missing child turns up unharmed. But then the Childminder targets DS Judy Johnson...
All of Griffiths' well-established characters are here, including Cathbad, Cloughie, and Shona, with the addition of Cathbad's daughter Maddie, and Frank, an American historian working on the TV shoot with Ruth. The plot becomes wrenchingly suspenseful as the police try to help one of their own through a parent's worst nightmare, and there's a book-ending chase involving unexpected heroes and a surprise villain. (I at least did not suspect the character "whodunnit".)
One thing that drives me nuts about the series is Ruth's obsession with her weight. Can we just have her arrive at a happy place where she accepts who she is? So tedious.
This can be read as a stand-alone, but there is a lot of back story you miss without reading the earlier books in the series.
Dr. Ruth Galloway's latest dig has turned up the bones of a probable former prisoner of Norwich Castle, used as a Victorian-era prison and hanging site. The body proves to have a hook where one hand should be, leading to the possibility the bones are those of Jemima Green, a.k.a., "Mother Hook," a childminder who was accused of murdering one or more of the abandoned children for whom she cared, and was hanged on scant evidence.
Ruth's fame-mad boss Phil is delighted when a TV crew for the program, "Women Who Kill" ask to do a series about the dig and the Mother Hook legend. Ruth is wary of TV exposure, but is soon dragged into the filming.
Elsewhere, DCI Harry Nelson and his team believe one of the parents of three infants who died in their cradles has to have killed one or more or the babies. Weirdly, unavoidable connections arise between the Donaldson case, and the Scarlet Henderson case that still haunts Nelson. Then a child abduction occurs at the home where the Donaldson's babysitter is currently employed. The kidnapper leaves a disturbing note: She's safe with me. The Childminder.
None of the suspects seems likely for the abduction, but the team works round the clock trying to find a dark-haired woman seen pushing a pram and driving off in a white car. The crisis seems over when the missing child turns up unharmed. But then the Childminder targets DS Judy Johnson...
All of Griffiths' well-established characters are here, including Cathbad, Cloughie, and Shona, with the addition of Cathbad's daughter Maddie, and Frank, an American historian working on the TV shoot with Ruth. The plot becomes wrenchingly suspenseful as the police try to help one of their own through a parent's worst nightmare, and there's a book-ending chase involving unexpected heroes and a surprise villain. (I at least did not suspect the character "whodunnit".)
One thing that drives me nuts about the series is Ruth's obsession with her weight. Can we just have her arrive at a happy place where she accepts who she is? So tedious.
This can be read as a stand-alone, but there is a lot of back story you miss without reading the earlier books in the series.
Another winner from Elly Griffiths. The many stories being told in this mystery wind in and out of each other giving the reader a lot to think about.
adventurous
dark
emotional
mysterious
reflective
sad
tense
medium-paced
Plot or Character Driven:
Plot
Strong character development:
No
Loveable characters:
Yes
Diverse cast of characters:
No
Flaws of characters a main focus:
No