The Private Patient
The Private Patient book cover

The Private Patient

Paperback – November 3, 2009

Price
$14.31
Format
Paperback
Pages
352
Publisher
Vintage
Publication Date
ISBN-13
978-0307455284
Dimensions
5.3 x 0.81 x 8 inches
Weight
10.8 ounces

Description

"Brilliant. . . . A jewel in [James's] crown." — Pittsburg-Post Gazette "No one is better than James at maintaining this tension between the cozy and the frightful." — The Washington Post "[James is] a master. . . . Nothing is as it first appears." — The Boston Globe "[I]intricately plotted and suspenseful.... James' clear-eyed, often sardonic prose describes rooms and people exactly as she sees them." — Providence Journal "Elegant . . . compelling. . . . Continues the James tradition. . . . She comfortably tackles timeless concerns." — Chicago Tribune "The ghost of literature past haunts P.D. James' newest novel. . . . The novel's pointed descriptions, its gothic settings, and its theme exploring the insidious legacies of family and class violence suggest Charles Dickens may have rested a hand on James' shoulder while she wrote this terrific literary mystery." — Milwaukee Journal Sentinel "James is a wonderful writer." — Chicago Sun-Times "James is in excellent form. . . . [She] offers her readers intelligence, wisdom, dry humor, knowledge both deep and wide-ranging, humanity, compassion, understanding and a wonderful way with words. . . . James is one of Britain's greatest living writers." — St. Louis Post-Dispatch P. D. James is the author of twenty books, many of which feature her detective hero Adam Dalgliesh and have been televised or filmed. She was the recipient of many honors, including the Mystery Writers of America Grand Master Award and the National Arts Club Medal of Honor for Literature, and in 1991 was created Baroness James of Holland Park. She died in 2014. Excerpt. © Reprinted by permission. All rights reserved. On November the twenty-first, the day of her forty-seventh birthday, and three weeks and two days before she was murdered, Rhoda Gradwyn went to Harley Street to keep a first appointment with her plastic surgeon, and there in a consulting room designed, so it appeared, to inspire confidence and allay apprehension, made the decision which would lead inexorably to her death. Later that day she was to lunch at The Ivy. The timing of the two appointments was fortuitous. Mr. Chandler-Powell had no earlier date to offer and the luncheon later with Robin Boyton, booked for twelve-forty-five, had been arranged two months previously; one did not expect to get a table at The Ivy on impulse. She regarded neither appointment as a birthday celebration. This detail of her private life, like much else, was never mentioned. She doubted whether Robin had discovered her date of birth or would much care if he had. She knew herself to be a respected, even distinguished journalist, but she hardly expected her name to appear in the Times list of VIP birthdays.She was due at Harley Street at eleven-fifteen. Usually with a London appointment she preferred to walk at least part of the way, but today she had ordered a taxi for ten-thirty. The journey from the City shouldn’t take three-quarters of an hour, but the London traffic was unpredictable. She was entering a world that was strange to her and had no wish to jeopardise her relationship with her surgeon by arriving late for this their first meeting.Eight years ago she had taken a lease on a house in the City, part of a narrow terrace in a small courtyard at the end of Absolution Alley, near Cheapside, and knew as soon as she moved in that this was the part of London in which she would always choose to live. The lease was long and renewable; she would have liked to buy the house, but knew that it would never be for sale. But the fact that she couldn’t hope to call it entirely her own didn’t distress her. Most of it dated back to the seventeenth century. Many generations had lived in it, been born and died there, leaving behind nothing but their names on browning and archaic leases, and she was content to be in their company. Although the lower rooms with their mullioned windows were dark, those in her study and sitting room on the top storey were open to the sky, giving a view of the towers and steeples of the City and beyond. An iron staircase led from a narrow balcony on the third floor to a secluded roof, which held a row of terra-cotta pots and where on fine Sunday mornings she could sit with her book or newspapers as the Sabbath calm lengthened into midday and the early peace was broken only by the familiar peals of the City bells.The City which lay below was a charnel house built on multilayered bones centuries older than those which lay beneath the cities of Hamburg or Dresden. Was this knowledge part of the mystery it held for her, a mystery felt most strongly on a bell-chimed Sunday on her solitary exploration of its hidden alleys and squares? Time had fascinated her from childhood, its apparent power to move at different speeds, the dissolution it wrought on minds and bodies, her sense that each moment, all moments past and those to come, were fused into an illusory present which with every breath became the unalterable, indestructible past. In the City of London these moments were caught and solidified in stone and brick, in churches and monuments and in bridges which spanned the grey-brown ever-flowing Thames. She would walk out in spring or summer as early as six o’clock, doublelocking the front door behind her, stepping into a silence more profound and mysterious than the absence of noise. Sometimes in this solitary perambulation it seemed that her own footsteps were muted, as if some part of her were afraid to waken the dead who had walked these streets and had known the same silence. She knew that on summer weekends, a few hundred yards away, the tourists and crowds would soon be pouring over the Millennium Bridge, the laden river steamers would move with majestic clumsiness from their berths, and the public city would become raucously alive. But none of this business penetrated Sanctuary Court. The house she had chosen could not have been more different from that curttained, claustrophobic semi-detached suburban villa in Laburnum Grove, Silford Green, the East London suburb where she had been born and in which she had spent the first sixteen years of her life. Now she would take the first step on a path which might reconcile her to those years or, if reconciliation were impossible, at least rob them of their destructive power.It was now eight-thirty and she was in her bathroom. Turning off the shower, she moved, towel-wrapped, to the mirror over the washbasin. She put out her hand and smoothed it over the steam-smeared glass and watched her face appear, pale and anonymous as a smudged painting. It was months since she had deliberately touched the scar. Now, slowly and delicately, she ran a fingertip down its length, feeling the silver shininess at its heart, the hard bumpy outline of its edge. Placing her left hand over her cheek, she tried to imagine the stranger who, in a few weeks’ time, would look into the same mirror and see a doppelgänger of herself, but one incomplete, unmarked, perhaps with only a thin white line to show where this puckered crevice had run. Gazing at the image, which seemed no more than a faint palimpsest of her former self, she began slowly and deliberately to demolish her carefully constructed defences and let the turbulent past, first like a swelling stream and then a river in spate, break through unresisted and take possession of her mind.2She was back in that small rear room, both kitchen and sitting room, in which she and her parents colluded in their lies and endured their voluntary exile from life. The front room, with its bay window, was for special occasions, for family celebrations never held and for visitors who never came, its silence smelling faintly of lavender furniture polish and stale air, an air so portentous that she tried never to breathe it. She was the only child of a frightened and ineffective mother and adrunken father. That was how she had defined herself for more than thirty years and how she still defined herself. Her childhood and adolescence had been circumscribed by shame and guilt. Her father’s periodic bouts of violence were unpredictable. No school friends could safely be brought home, no birthday or Christmas parties arranged and, since no invitations were ever given, none was received. The grammar school to which she went was single-sex and friendships between the girls were intense. A special mark of favour was to be invited to spend the night at a friend’s house. No guest ever slept at 239 Laburnum Grove. The isolation didn’t worry her. She knew herself to be more intelligent than her fellows and was able to persuade herself that she had no need of a companionship which would be intellectually unsatisfying and which she knew would never be offered.It was eleven-thirty on a Friday, the night her father got paid, the worst day of the week. And now there came the sound she dreaded, the sharp closing of the front door. He came blundering in and she saw her mother move in front of the armchair, which Rhoda knew would awaken his fury. It was to be her father’s chair. He had chosen it and paid for it, and it had been delivered that morning. Only after the van had left had her mother discovered it was the wrong colour. It would have to be changed, but there had been no time before the shop closed. She knew that her mother’s querulous, apologetic, half-whining voice would enrage him, that her own sullen presence would help neither of them, but she couldn’t go up to bed. The noise of what would happen beneath her room would be more terrifying than to be part of it. And now the room was full of him, his blundering body, the stink of him. Hearing his bellow of outrage, his ranting, she felt a sudden spurt offury, and with it came courage. She heard herself saying, “It isn’t Mother’s fault. The chair was wrapped up when the man left it. She couldn’t see it was the wrong colour. They’ll have to change it.”And then he turned on her. She couldn’t recall the words. Perhaps at the time there had been no words, or she hadn’t heard them. There was only the crack of the smashed bottle, like a pistol shot, the stink of whisky, a moment of searing pain which passed almost as soon as she felt it and the warm blood flowing from her cheek, dripping onto the seat of the chair, her mother’s anguished cry. “Oh God, look what you’ve done, Rhoda. The blood! They’ll never take it back now. They’ll never change it.”Her father gave her one look before stumbling out and hauling himself up to bed. In the seconds in which their eyes met, she thought she saw a confusion of emotions: bafflement, horror and disbelief. Then her mother finally turned her attention to her child. Rhoda had been trying to hold the edges of the wound together, the blood sticky on her hands. Her mother fetched towels and a packet of sticking plasters and tried with shaking hands to open it, her tears mixing with the blood. It was Rhoda who gently took the packet from her, unpeeled the plasters from their covers and managed at last to close most of the wound. By the time, less than an hour later, she was lying stiffly in bed, the bleeding had been staunched and the future mapped out. There would be no visit to the doctor and no truthful explanation ever; she would stay away from school for a day or two, her mother would telephone, saying she was unwell. And when she did go back, her story would be ready: she had crashed against the edge of the open kitchen door.And now the sharp-edged memory of that single slashing moment softened into the more mundane recollection of the following years. The wound, which became badly infected, healed painfully and slowly, but neither parent spoke of it. Her father had always found it difficult to meet her eyes; now he hardly ever came near her. Her classmates averted their gaze, but it seemed to her that fear had replaced active dislike. No one at school ever mentioned the disfigurement in her presence until she was in the sixth form and was sitting with her English mistress, who was trying to persuade her to try for Cambridge—her own university—instead of London. Without looking up from her papers, Miss Farrell had said, “Your facial scar, Rhoda. It’s wonderful what plastic surgeons can do today. Perhaps it would be sensible to make an appointment with your GP before you go up.” Their eyes hadmet, Rhoda’s mutinous with outrage, and after four seconds of silence, Miss Farrell, cringing in her chair, her face an angry rash of mottled scarlet, had bent again to her papers. She began to be treated with wary respect. Neither dislike nor respect worried her. She had her own private life, an interest in findingout what others kept hidden, in making discoveries. Probing into other people’s secrets became a lifelong obsession, the substratum and directionof her whole career. She became a stalker of minds. Eighteen years after she had left Silford Green, the suburb had been enthralledby a notorious murder. She had studied the grainy pictures of victim and killer in the papers with no particular interest. The killer confessed within days, was taken away, the case closed. As an investigative journalist, by now becoming increasingly successful, she was interested less by Silford Green’s brief notoriety than by her own more subtle and more lucrative and fascinating lines of enquiry.She had left home on her sixteenth birthday and found a bed-sit in the next suburb. Every week until he died her father sent her a fivepound note. She never acknowledged it but took the money because she needed it to supplement the cash she earned in the evenings and at weekends working as a waitress, telling herself that it was probably less than her food would have cost at home. When, five years later, with a first in history and established in her first job, her mother phoned to say that her father had died, she felt an absence of emotion that paradoxically seemed stronger and more irksome than regret. He had been found drowned, slumped in an Essex stream whose name she could never remember, with an alcohol level in his blood which proved that he had been intoxicated. The coroner’s verdict of accidental death was expected and, she thought, probably correct. It was the one she had hoped for. She told herself, not without a small flicker of shame which quickly died, that suicide would have been too rational and momentousa final judgement on such an ineffectual life. Read more

Features & Highlights

  • NATIONAL BESTSELLER • Part of the bestselling mystery series that inspired
  • Dalgliesh
  • on Acorn TV
  • Cheverell Manor is a beautiful old house in Dorset, which its owner, the famous plastic surgeon George Chandler-Powell, uses as a private clinic. When the investigative journalist, Rhoda Gradwyn, arrives to have a disfiguring facial scar removed, she has every expectation of a successful operation and a peaceful week recuperating. But the clinic houses an implacable enemy and within hours of the operation Rhoda is murdered. Commander Dalgliesh and his team are called in to investigate a case complicated by old crimes and the dark secrets of the past. But Before Rhoda's murder is solved, a second horrific death adds to the complexities of one of Dalgliesh's most perplexing and fascinating cases.

Customer Reviews

Rating Breakdown

★★★★★
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★★★★
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★★★
15%
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★★
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23%
(823)

Most Helpful Reviews

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Immortal James

Having just read through all the Dalgliesh Mysteries in a matter of months, I was saddened to reach what was planned as the last novel. There is a sunset quality about the action as Adam contemplates retirement. The conclusion was, for me, a moment to reflect on matters far greater than a novel's action. James had so cogently introduced morality and philosophy in all her novels but here encapsulates her final thoughts, like an attorney's summation, in the briefest yet clearest expression.
I'll be ready to reread the novels, this time in order, in a matter of another few months. I can't say that about many of the best mystery writers -- certainly not Conan Doyle or Agatha Christie, or even some of Dorothy Sayers' novels. Incidentally, I do include the brilliant spy novels of Alan Furst -- whose books I'm about to start all over again, having just finished his latest. James and Furst understand that, even in plot-driven novels, the interior lives of the characters are what make their books memorable.
17 people found this helpful
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Great Cookbook, Terrible Murder Mystery

If you're fascinated by food and menus and what kinds of things should be eaten on what occasions (for example, what do you eat right after a murder) then this is the book for you. I started to check at some point to see if there was a single page in which the details of some meal were not listed! I think my favorite is when one of the characters orders "fresh-pressed orange juice." I'm honestly surprised she didn't say "fresh-pressed orange juice made from Florida oranges grown south of Tampa." Reminds me of the James Bond movies in which he is always ordering some drink made in some incredibly specific way to show how sophisticated he is!

On the other hand, if you're interested in murder mysteries, this one will probably aggravate you to death. There isn't a single verbal exchange that doesn't sound utterly artificial and the plot contrivances are simply ridiculous. I've had multiple surgeries under a general anesthetic. As another reviewer pointed out -- the whole reason they don't release the "private patient" (who has just had surgery) and send her home with a bandage on her face is that she needs to be monitored, especially at night. What the heck would be the point in paying a fortune to stay post-surgery in some incredibly swanky medical facility and be wheeled from the recovery room and dumped in your own bed like you were in a hotel! You get up to go to the bathroom in the middle of the night (which you will, because they pump you full of fluids during surgery) and you're still whoozy and you trip and break your neck. Why didn't they just have the doctor running a spa or something -- the facility seemed way more spa-like than surgery-like in the first place. (Doctors also don't have surgical facilities out in the middle of nowhere because if anything goes wrong (and if they have enough patients, eventually something will) they need to be able to transfer the patient to a hospital immediately.)

Last of all, the PC stuff was just gagging. A man, proclaiming his love for a woman, says "I want to make love to you, but what heterosexual man wouldn't?" Not "what man wouldn't" but "what heterosexual man" wouldn't? After all, we don't want to make a non-inclusive statement without regard to the feelings of gay men. Hard to believe that in the throes of passion he would remember to remain politically correct at all times!
16 people found this helpful
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never did fully engage with the story

This is a Adam Dalgliesh mystery. He's a commander with Scotland Yard - writes poetry - drives a Jaguar - is the strong smart reticent type. The story is set, for the most part, at Cheverell Manor near Dorset. The plot is complex, and the setting is well imagined. This was my least favorite of the P. D. James mysteries I've read. I never did fully engage with the story, which was short on plot tension, though there were many plot twists. Still, it was P. D. James, so the story was well steeped with setting and ambience...and well-peopled with a myriad of characters whose veiled backstories kept the reader guessing.
13 people found this helpful
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Illogical Medical care

There is one very serious flaw in the plot of this story, and it is so ridiculous an oversight that it creates a situation where none of the rest of what happened would have been possible -- NO surgeon, no matter how skilled, no matter how fancy / private / exclusive / elegant the facility, would send a patient back to a private room after major surgery and have her tucked into bed and left there all night without electronic monitors, nurses standing by and checking on her every few minutes, a full time staff member or trained medical professional right by her bedside or outside the room the entire night. This procedure sounded more like the treatment one would receive at a spa than at a serious medical clinic. He would have his medical license removed for malpractice if this happened ever, even if only once. It would be dangerous, negligent and ridiculous to leave a patient alone after surgery that took hours under full anaesthesia without close supervision until the patient had recovered enough to be discharged. This is such a gap in believability that it makes the fact that the victim was murdered irreconcilable with any reality. She could have died of complications from the surgery, the anaesthesia, infection, falling - so many other things before the perpetrator even got to her. This was such an annoying glitch in the story that it made it hard for me to believe or care about any of the rest of it - the food, the chefs' weird relationship, the buildings, the connections, the grounds, the witch, the motive for the murder(s) - any of it. It makes me wonder if editors even read their clients' work any more.
11 people found this helpful
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Tedious and boring

It's been years since I've read this series and probably should have gone back to where I'd left off since this volume was so dull and lifeless it was painful. Even the bits that were supposed to be tantalizing were excruciating. AD and Co., are about as uninteresting as pond scum floating about.
6 people found this helpful
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Glad it's over

I only finished this book because I was curious to see who committed the crime. The author went into so much boring detail that I ended up skimming through it and still was able to follow the plot. This was my first P.D. James book and will probably be my last.
4 people found this helpful
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Another fine novel from the Baroness

(Steps up to the platform, taps microphone, oops feedback, adjusts device), starts to talk:

OK, I'm going to review P.D. James's "The Private Patient" now. Umm, but before I begin, I want to tell you that while you learn who the murder victim is in the first paragraph, the murder doesn't take place for another 90 pages in a book that has 352 of them. Those who'd prefer to hear about something else might want to try room 15B where . . . (Sound of chairs scraping, scurrying, and cries of "hello---I must be going!"

Alright, for those who remain, this is another of the author's tales of the intellectual detective Adam Dalgliesh and his squad, who must discover who murdered that private patient, Rhoda Gradwyn, an investigative reporter who shows up at the Dorsetshire clinic of a plastic surgeon in order to get a scar removed. She's a private patient, which in British terms means in that the operation is on her dime, not that of the coungtry's (in)famous National Health Service.

As always with Ms. James, the novel is stuffed with background information about the many suspects, lush descriptive passages, cynical asides about the state of the modern world, and a good suspenseful plot (albeit one more impressionistic than usual, even by the author's own standards).

If you're a fan of the series, don't pass it up--it may be the last one Ms. James, approaching 90, may ever get to write. And it would appear from some of the scenes in this book that she's well aware of that.
4 people found this helpful
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Only So-So

As a die-hard P.D. James fan, I shrink at the task of reviewing this, her latest installment of Adam Dalgleish and his special crimes unit squad. I must say that as much as I wanted to like this book, I was disappointed with it.

As a starter, I found the story to be average, and almost entirely predictable all the way through. The location descriptions fall short of James' typical lavish details, and the content and character development normally found in a P.D. James works falls short of her best efforts to date (in order, they would be Death in Holy Orders, The Murder Room, and The Lighthouse). This was a true disappointment for me after following Dalgleish for many years. I wonder whether the Baronesse James of Holland Park is using a ghost writer now? Perish the thought!!

If you absolutely need to see the next steps in the Adam Dalgleish/Emma Levanham saga, they you must read this book. But if you are not interested in how that ends up, you can save yourself some time by passing this one over.
4 people found this helpful
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NOT HER BEST WORK, BUT STILL BETTER THAN SOME WRITERS' EFFORTS

Medical mysteries--crime stories that have some kind of medical connection--tend to trigger strong emotions in readers because of their central ironies: medical personnel supposedly take oaths including the words "First do no harm," and medical facilities are supposed to be places where people strive to made others' lives better, not worse. In at least three of her earlier mystery books, P. D. James made this field one of her specialties: A MIND TO MURDER (1961, set in a psychiatric clinic); SHROUD FOR A NIGHTINGALE (1971, set in a school for nurses); THE BLACK TOWER (1975, set in a nursing home). Her most recent mystery, THE PRIVATE PATIENT (2008, an Adam Dalgliesh case), is set largely in and around a private medical clinic where plastic surgery is performed on (chiefly) older women. One of these women, an investigative reporter who had a deep facial scar "removed," is murdered in her bed just a few hours after her successful operation.

Like many other people, often I am reading two or more books at the same time. I began James's THE PRIVATE PATIENT while I was finishing one of the late Robert Parker's final "Spenser" novels, and then, when I was about halfway through James's book, I began another mystery--Arthur W. Upfield's MR. JELLY'S BUSINESS (1937), published in the U.S. as MURDER DOWN UNDER. Comparing these three, I would give Parker's work a grade of "C-", James's a "B-", and Upfield's an "A-".

The good news is that James's characterization and plotting are far richer and more interesting than Parker's, with his "paint by numbers" details that could have been cut-and-pasted from a dozen other Spenser books--chapter fillers about the traffic and weather and stores of Boston, Spenser's psychiatrist girlfriend and his dog that wants to join them in bed, their gourmet meals--and silliest of all, mindless Senserian-and-Hawkian violence combined with other law-breaking that the local police and the F.B.I. implausibly but consistently turn blind eyes to, etc. etc. etc.

In contrast, Upfield, in his Fair-Play Puzzle Story, was able to project himself and us into the minds of his key characters in a vivid and convincing way, especially the minds of his two murderers as the police close in on them; his overall plotting and clueing were very good; and he very neatly and very satisfyingly tied tightly together the two main strands of his story on his final page. Furthermore, some of his attempts at humor are genuinely funny. (James's story, I believe, has just one attempt at humor--involving some obscene graffiti Dalgliesh and a colleague happen to see.)

James's book is approximately twice the length of Upfield's MR. JELLY'S BUSINESS and coincidentally is similarly burdened with many would-be "poetic" descriptions (in both books they are similarly unconnected to any character's viewpoint), but James's story is much more loosely plotted, much less engaging than Upfield's as far as its characters are concerned, and, unlike Upfield's, is never emotionally touching. Although James's narrator burrows into the thoughts of her characters, we readers are never shown feelings of great intensity, as we are with Upfield's people. James's THE PRIVATE PATIENT is coolly impersonal in tone, even where Dalgliesh and his relationship with his fiancée are concerned, and at its ending both Dalgliesh and readers are kept in the dark about two main points of the case, which I found unsatisfying. Yes, REAL life is often like that, but James has been using an omniscient narrator, who does report on the thoughts of her characters and does make satirical comments about society in general, so the secrecy seems arbitrary, as if James, at age 87 or 88, simply forgot or simply changed her mind about the format of her book while writing the final stretch.

POSTSCRIPT: For anyone who would like to try other authors' medical mysteries, here are a few: Mary Roberts Rinehart's THE BUCKLED BAG and LOCKED DOORS (both 1914) and several other Nurse Hilda Adams mysteries; Mignon G. Eberhart's THE PATIENT IN ROOM 18 (1929), WHILE THE PATIENT SLEPT (1930), and several other Nurse Sarah Keate mysteries; Means Davis's THE HOSPITAL MURDERS and MURDER WITHOUT WEAPON (both 1934); Ngaio Marsh and Dr. H. Jellett's THE NURSING HOME MURDER (1963); Dr. Josephine Bell's DEATH AT THE MEDICAL BOARD (1964) and THE TROUBLE IN HUNTER WARD (1976); Emma Lathen team's A STITCH IN TIME (1968); Dr. John H. Way and David C. Miller's DREAM WATCH (1981); Dr. L. M. Vincent's FINAL DICTATION: A MEDICAL MYSTERY (1989); the medical thrillers of Robin Cook, e.g., VITAL SIGNS (1991) and BLINDSIGHT (1992); Dr. Stella Shepherd's NURSE DAWES IS DEAD (1994); and Joe Barone's THE BODY IN THE RECORD ROOM: A MYSTERY (2008).
3 people found this helpful
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Quite good, typical of her better books

P.D. James started out as a more or less conventional detective novelist. She writes the typical cerebral English muder mystery, and is the closest thing to an heir Agatha Christie has had since she passed away. Christie almost always emphasized a complicated plot, with a murder "puzzle" mystery that required Miss Marple or Hercule Poirot to solve, and she usually resolved the plots more or less completely. James is content to include a mystery, and not so determined to have things tied up neatly at the end, so the books have a more modern feel to them. She's also, for whatever reason, much more interested in the incidental characters in her books. Christie emphasized the mystery itself; James changes the emphasis, and pays attention to the various participants, their actions, thoughts, feelings, families, and so forth.

So we come to the latest book. The title character is the victim Rhoda Gradwyn, a patient of a private medical clinic in rural England. She's an investigative journalist, and she's lived all of her life with a pretty horrific scar on her face, which she now decides to have removed or mitigated as much as possible. Rather than undergo Britain's National Health Service and its waiting lists, she engages a private surgeon, who runs a clinic in the rural English countryside called Cheverall Manor. It's an English country estate whose owner fell on hard times, and had to sell, and the surgeon has staffed it with nurses, an assistant, and various maids, along with a husband and wife cooking team. Rhoda is expected to stay a week after the surgery, recovering, but she's murdered the first night.

Dalgliesh and his team are summoned to work out who killed her. At first they are confused why the locals aren't left in charge, but when it appears that a very wealthy and prominent socialite was in the room next to Gradwyn's, waiting on surgery the next day, that part of the mystery is solved. The rest of it takes some unravelling, and the result isn't completely satisfactory to most of the participants, but the reader should enjoy the course of the novel and its conclusion.

The way this book is written, it could serve as the last Dalgliesh novel. I'm unaware if there's another. As of this writing author James will turn 91 some time this year, and that makes this book (published the year the author turned 88) rather remarkable. If it is the last, it's a fine end to the series; if not, I look forward to the next book.
3 people found this helpful