In the teeth of a blizzard, DCI Vera Stanhope of the Northumberland & City Police sets off for home but becomes disoriented in the tangle of snow-covered rural roads. For a while she is able to follow the lights of another car, but then they disappear, and she finds the car veered off onto a farm track, the driver’s door standing open and—upon investigation—a toddler strapped into a carseat.
Assuming the driver has gone for help, though surprised they left the child, Vera takes the child with her—I could identify with her struggle to connect the carseat in her ancient Land Rover!—and continues along the now-familiar road. It leads to Brockburn, the Stanhope family seat, but one Vera knows little of since her father had become estranged from them before she was born. Her cousin Juliet reconises Vera and welcomes her and the child, even though there’s a party going on, hosted by Juliet’s husband, theater director Mark Bolitho.
Then the dead body of a woman is discovered just outside, found by a local farmer come to pick up his daughters who’ve been helping out with the party.
This is a satisfying mystery with a fascinating cast of local characters, lots of buried secrets, and settings that feel entirely real, whether we’re in woods, mansion, or cottage kitchen. There are constant surprises as Vera investigates. For example, the murdered woman seems to be estranged from her parents and they from each other, but there are unexpected emotions roiling beneath that surface.
Two aspects of this mystery make it stand out for me. One is the information about Vera’s family. I knew her now-deceased father had been the black sheep of the family, but hadn’t realised his aristocratic lineage. His brother Crispin left the house to daughter Juliet with the condition that her mother could live there. Browbeaten by her mother, Juliet is also miserable over her inability to have a baby, while Mark is absorbed in his plans to fix their financial woes by turning the mansion into a theater venue. Vera’s interactions with each of these relatives illuminate the family’s dynamics.
The other is the way the theme—how much about a family is invisible to an outsider—is woven into the plot. It takes an expert geologist to see beyond the surface of a happy family or an estranged one, to sift through the buried layers of past actions, tangled roots and resentments. But Cleeves weaves the theme in subtly. It is only in looking back that I see how it is embodied in the rich characters and their public and private relationships, even in their homes. There are only a couple of places where the idea of family becomes explicit. This is something I struggle with: how much to trust my reader to see what isn’t stated outright.
Having enjoyed the Vera television series I decided to try one of the books on which it is based. I chose this one because it takes place around the winter solstice, and enjoyed it very much, though of course I heard Brenda Blethyn’s voice in my head. That’s one reason I usually try to read a book before seeing its dramatisation, so I can form my own images. I didn’t mind that here because the performances of Blethyn, David Leon as Joe, and especially Wunmi Mosaku as Holly provided extra texture to the story.
There’s plenty of suspense, looking out for danger where it isn’t and being surprised by where it is. With several potential solutions, there’s much to think about. As with the best mysteries, it’s not so much about identifying the murderer as it is about finding the correct narrative among the many possibilities that could have led to this outcome. I found it the perfect read for this season.
What do you think: read the book first or see the show first?
