Showing posts with label Mystery. Show all posts
Showing posts with label Mystery. Show all posts

Thursday, August 6, 2026

#Review - A Crime Through Time by Amelia Blackwell #Mystery #Suspense

Series:
 
Miss Darcy Investigates (#1)
Format: 400 pages, Paperback
Release Date: March 31, 2026
Publisher: Pan
Source: Publisher
Genre: Mystery, Suspense

Cozy, quirky and utterly enthralling, A Crime Through Time is the debut from Amelia Blackwell – the start of a series where crime, time travel and Jane Austen collide.

Pemberley, 1799. When Miss Georgiana Darcy attempts to escape an unwanted marriage proposal, she isn’t expecting to end up quite so far from home. But after encountering a mysterious object in the nearby woods, she finds herself transported almost two hundred years into the future.

Saltram, 1995. At a grand country house where a film crew are busy shooting the latest Jane Austen adaptation, a terrible crime has been committed. And Miss Darcy – newly arrived, impeccably dressed and thoroughly confused – is the only witness.

It soon becomes clear that, somehow, Georgiana was meant to solve this riddle. With the help of a distractingly handsome Irishman named Quinn and a border collie named Watson, she sets out to stop the killer before they can strike again. But meanwhile, trouble is brewing back at Pemberley and time, it seems, is not on her side . . .



Amelia Blackwell's A Crime Through Time is the first installment in the author's Miss Darby Investigations series, and the author's debut novel. A Crime Through Time is a quirky, escapist debut that blends Jane Austen sequel vibes, cozy crime, time travel, and light romance into an entertaining (if uneven) romp. It launches the Miss Darcy Investigates series and centers on Georgiana Darcy (Mr. Darcy’s younger sister from Pride and Prejudice) as an unlikely time-traveling amateur sleuth. 

The novel is set primarily between Pemberley in 1799 and Saltram House in Devon in 1995. Georgiana, now around 20 and still recovering from the near-scandal involving Wickham, faces an unwanted marriage proposal from the unappealing Baron John de Halighwell. Seeking solitude in the woods, she discovers a mysterious object—a Motorola pager—that transports her nearly 200 years forward. She lands on the grounds of Saltram House, where a film crew is shooting a Jane Austen adaptation (linked to Sense and Sensibility). 

There she witnesses (or stumbles upon) a crime involving a groundsman’s death, becomes the only key witness of sorts, and teams up with a distractingly handsome Irish security guard named Quinn and a border collie named Watson to investigate while shuttling back and forth through time. Parallel troubles brew at Pemberley involving family (including Elizabeth’s difficult pregnancy) and social pressures. The premise is the book’s strongest asset: a clever collision of Austen’s world with 1990s Britain, fish-out-of-water humor, and cozy mystery tropes. 

Georgiana’s reactions to modern life, technology, language, casual manners, music, and the chaos of a film set provide much of the comedy and charm. Blackwell (a Cornwall-based author with a deep affection for Austen, an MA in Creative Writing, and personal touches like naming a suitor after a family connection) shows clear research and love for the source material. She expands Georgiana beyond her more passive original portrayal into a curious, increasingly confident young woman who gains agency through her adventures. 

Familiar figures such as Darcy, Elizabeth, Lady Catherine, and Anne appear with recognizable traits while allowing room for new dynamics. The dual timelines create a sense of two stories in one, and the short, often amusingly titled chapters help the pacing in places. Romance develops between Georgiana (“George” to Quinn) and the down-to-earth Quinn, offering a contrast between Regency constraints and modern possibilities, though the time gap creates inherent tension and an open-ended quality suited to a series. 

The mystery involves murder(s) on the estate and the need to stop a killer, with Watson adding a touch of loyal canine companionship. As a series starter, it successfully plants seeds for future adventures (a sequel involving the Brontës has been mentioned in related materials) and leaves some questions open. It works best for readers who enjoy light, concept-driven fiction rather than rigorous locked-room puzzles or deep historical immersion. 

Fans of Austen-inspired stories, time-travel romances, or gentle mysteries with humor (think elements of Thursday Next-style literary playfulness mixed with cozy vibes) are the clearest audience. Those seeking a meaty, clue-driven crime novel or strict fidelity to Austen’s tone and characters may find it lighter and more uneven than hoped.





Monday, July 27, 2026

#Review - The Killing Time by Elly Griffiths #Mystery #Suspense

Series:
 Ali Dawson # 2
Format: 
353 pages, Kindle Edition
Release Date: February 12, 2026
Publisher: Pamela Dorman Books
Source: Publisher
Genre: Mystery, Suspense

The second mystery following Ali Dawson, the brilliant time-traveling detective, on her newest foray into Victorian London

Detective Ali Dawson leads a unit that investigates cases so cold her team must travel back in time to solve them. But ever since their technical expert, Jones, got stuck in Victorian London, Ali and her team have been forbidden from time travel.

At a loss, Ali dives into a present-day case – an apparent suicide of a young man who fell to his death from a high building. Ali believes the death is linked to a bad-news psychic medium, Barry Power, who convinced the boy he could fly. Suspicious, Ali attends one of Power’s shows, where he claims to be in contact with none other than Jones.

Minor trouble closer to home inspires Ali to sneak back in time just long enough to prevent misfortune. Her plan backfires, and she finds herself once again in Victorian London, where she reencounters Jones, as well as the darkly mysterious Cain Templeton, with whom Ali has unfinished business from her previous visit to the nineteenth century . . .

When she spies Barry Power lurking in the past, Ali knows she's onto something. But with a potential murderer operating in multiple centuries, how on earth is she supposed to protect everyone at risk?

It's a different time. It's a dangerous time. It's the killing time. The story alternates between Contemporary and Victorian London. 


The Killing Time is the second installment, following The Frozen People, in author Elly Griffiths' Ali Dawson series. The story alternates between 2024 and 1850 London. It centers on Detective Ali Dawson and her specialized London Met cold-case unit (nicknamed the Frozen People or Department of Logistics). The team’s secret tool is time travel, used for cases so old that visiting the past is the only way to gather evidence. 

Since the events of The Frozen People left one member of the "Department of Logistics" dead and another stranded in 1850s Victorian London, Ali and her remaining colleagues (Dr Bud Sirisema, Dina Appiah, and John Cole) are somewhat hamstrung, forbidden by Home Office hierarchy from conducting any further forays into the past, and confined to investigating cold cases via more mundane methods. In the present (set around a 2024 heatwave and election period), Ali is restless and frustrated by routine work. 

She digs into an apparent suicide: a young man who fell from a high building after being influenced by charismatic psychic medium Barry Power, who convinced him he could fly. Ali attends one of Power’s shows, where he makes an unsettling claim involving Jones. When her beloved cat Terry goes missing (via an open cat flap), Ali makes a reckless short-hop attempt to fix a minor domestic problem. 

The plan backfires spectacularly, stranding her in 1851 London—where she reunites with Jones, crosses paths again with the enigmatic Cain Templeton (unfinished business from the prior visit), and discovers Barry Power has connections that span the centuries. Meanwhile, in Ali's absence, two men are murdered in 2025, both having received mysterious postcards related to classic films. Dana and D.I. John Cole become embroiled in the investigation, along with DS Luca Venturi and the evident links that both victims have to Ali, who remains stuck in Victorian London. 

Griffiths handles the dual timelines with characteristic skill. Modern-day sections ground the story in Ali’s professional frustrations, family ties (including her son Finn), and the banter among her team. The Victorian sections shine brightest: 1851 London feels lived-in and textured, with the grime, social contrasts, the Great Exhibition in full swing, period details of domestic life (or lack of modern conveniences), and a sense of menace and opportunity. Griffiths’ research brings the era alive without slowing the pace into textbook mode. 

Ali remains a highly engaging protagonist—sharp, stubborn, flawed, funny, and morally driven. Her domestic details (especially the cat Terry, who becomes an unexpectedly memorable supporting player) and interactions humanize the high-concept elements. Supporting characters, both returning and new (Victorian maids offering class insights, showmen and illusionists, the unsettling Cain), add color and emotional stakes. 

The tone is a key strength: high stakes and genuine darkness sit comfortably alongside warmth, wit, and humanity. It never feels gimmicky; the time-travel paradoxes and rules are treated with enough internal consistency and playfulness to work for most readers who accept the premise. The mystery itself—linking modern “suicides” influenced by a medium to events in the past—has a contemporary edge involving manipulation, belief, and vulnerability.

It drives Ali effectively, but the killer’s identity can feel abrupt or underdeveloped, and certain time-travel mechanics (chairs, the Seeing Glass, and how animals or people shift eras) stretch suspension of disbelief more than in the first book. The dual timelines occasionally create a sense of loose ends or uneven pacing, with the Victorian sections sometimes dominating. 




Thursday, July 16, 2026

#Review - Somebody Worth Killing by Jessica Payne #Mystery #Thriller

Series:
 Unknown
Format: 
304 pages, Hardcover
Release Date: June 16, 2026
Publisher: Berkley
Source: Publisher
Genre: Mystery, Thriller

Meet Nadia Davis, a doting mom and loving wife who has a big secret: she’s actually an assassin. And she really needs a babysitter who shows up on time.

Nadia Davis is living the dream as a successful working mom with a career she loves, two adorable little girls, and a devoted husband who has no idea that she’s secretly a hired assassin and psychopath who kills certified bad guys. So when Nadia finds out she’s been “mommy tracked” by her assassin’s agency and is no longer getting the bigger, more exciting jobs, she demands an important mark…somebody worth killing.

But it turns out that big kill is the last person she expects—her husband. How is the sweet, kind, teller-of-dad jokes she’s promised her life to an evil villain who needs exterminating? Has their whole life together been a lie? Now Nadia must choose between the two things she loves most in life, the career that keeps her sane or the family she thought she knew.


Somebody Worth Killing by Jessica Payne is a fast-paced, darkly humorous psychological thriller that blends the high-stakes world of contract killing with the everyday chaos of suburban motherhood. Nadia Davis appears to have it all: two adorable young daughters, a devoted husband named Brian, a successful cover career as a wedding/event planner in San Antonio, and a picture-perfect suburban life complete with Costco runs, PTA meetings, and school pickups. 

But Nadia has a secret—she’s a self-diagnosed psychopath and professional assassin who only targets “certified bad guys.” Killing keeps the “monster” inside her at bay and brings her a twisted sense of satisfaction and normalcy. When her agency “mommy-tracks” her—assigning low-profile, local jobs because she’s a wife and mother—she pushes back and demands a high-stakes assignment: somebody worth killing. The target? Her own husband. 

Suddenly, Nadia must investigate whether the man she loves is truly evil, confront her own secrets, and choose between the career that keeps her sane and the family she never expected to care about so deeply. Nadia is a complex, memorable anti-heroine. She’s self-aware about her psychopathy (she feels emotions selectively, especially for her kids and husband) yet struggles with the same mom-guilt, multitasking, and gender biases as any working mother. 

Her first-person narration is witty, snarky, introspective, and often hilarious, turning absurd situations (lacing a cocktail with sleeping pills to sneak out for a hit, or racing between a sniper rifle and carpool) into darkly comedic gold. Supporting characters add depth: Brian starts as the ideal husband but reveals layers; the young daughters ground the story with heart; a fellow assassin friend (Ian) and Nadia’s grandmother (with a possible similar history and dementia) provide both support and moments of hilarity. 

The writing is fast-paced with short, propulsive chapters, clever twists, dark humor, and escalating tension. It evokes Dexter (female, mom edition), Finlay Donovan Is Killing It, and Big Little Lies vibes—domestic suspense meets assassin thriller with satirical edge. Payne researched female psychopaths (noting women often hide it better) and draws from real mom experiences for authenticity. I picked up this book because I thought it was a standalone. I just learned, as I am posting this review, that a sequel is planned for Spring 2027, and the threat to Nadia and her family has just begun. 




Wednesday, July 8, 2026

#Review - Targeted by Kendra Elliot #Mystery #Suspense

Series:
 Callahan and McLain # 4
Format: 
352 pages, Kindle Edition
Release Date: June 7, 2016
Publisher: Montlake 
Source: Kindle Unlimited
Genre: Mystery, Suspense

All Detective Mason Callahan wanted was a quiet fishing trip with the guys—a chance to get away and unwind before Halloween.

Until he finds the body of his boss, Denny Schefte, near their remote Oregon cabin. Now all he wants is to catch the sadist who slit Denny’s throat and covered his face with a mask. Mason was the last person to see him alive and will stop at nothing to find his friend’s murderer.

When the FBI learns of the mask left at the scene, they realize they have a serial killer on their hands—one who is targeting cops. They assign the case to Special Agent Ava McLane, despite her engagement to Mason. Barely recovered from her own nearly fatal injury and her sister’s attempted suicide, Ava hopes she is ready to chase another killer.

But as she delves into the increasingly disturbing case, the killer may be closer than expected—dangerously close.



Targeted is the 4th installment in author Kendra Elliot's Callahan and McLane series featuring Special Agent Ava McLane and Detective Mason Callahan. Targeted serves as the conclusion to the four-book series featuring FBI Special Agent Ava McLane and Oregon State Police Detective Mason Callahan, and no, I have not read the first 3 books yet. One day, perhaps! Mason Callahan heads out on a relaxing fishing trip with fellow law-enforcement buddies to a remote Oregon cabin just before Halloween. 

His plans shatter when he discovers the body of his boss, Captain Denny Schefte—throat slit and face covered by a horror movie mask. What begins as a personal tragedy quickly escalates when the FBI recognizes the signature: a serial killer targeting cops and leaving victims adorned with iconic horror masks (think Pinhead, Freddy Krueger, and others). Ava McLane, Mason’s fiancée and an FBI agent still recovering from a near-fatal injury (and family trauma involving her twin sister), gets assigned to the case despite the obvious conflict of interest. 

As more officers fall victim and the killer’s taunts grow bolder and more personal, Ava and Mason must navigate professional boundaries, personal fears, and a predator who seems dangerously close to their circle. The story blends high-stakes police procedural work with intimate emotional stakes in the Pacific Northwest setting Elliot knows so well. Elliot excels at creating relatable, resilient protagonists. 

Mason is portrayed as strong yet vulnerable—protective without being overbearing, deeply loyal, and emotionally intelligent. Ava continues her arc of growth: she’s competent and independent but learns to lean on her partner while confronting lingering trauma and family dynamics (particularly her complicated relationship with her troubled twin, Jayne). Supporting characters (including Ava’s FBI partner Zander and various law enforcement colleagues) add depth and texture. 

The ensemble feels authentic, with subplots like Ava’s family struggles providing emotional grounding without derailing the main investigation. Elliot builds tension masterfully from the chilling opening discovery, weaving in gruesome yet believable crime scenes and a killer whose motives and methods keep readers guessing. Horror movie mask references add a creepy, cinematic layer that heightens unease. 

The procedural elements—task force dynamics, evidence chasing, and inter-agency collaboration—are slick and well-researched, making the investigation feel credible and urgent. Twists are surprising without feeling contrived, and the escalating personal danger creates genuine stakes. As the series finale, it delivers a strong resolution to the central mystery while wrapping up Ava and Mason’s journey (with a few threads left open, possibly hinting at future appearances in Elliot’s interconnected universe, like the Columbia River series). 

Fans of police procedurals with heart, creepy killers, and resilient couples will find plenty to love here. Highly recommended for a thrilling, page-turning read that leaves you satisfied yet eager for more of Elliot’s Oregon-set stories.




Monday, July 6, 2026

#Review - You Can Tell Me by Melinda Leigh #Mystery #Suspense

Series:
 Olivia Cruz # 1
Format: Kindle, 297 pages 
Release Date: 
May 12, 2026
Publisher: Montlake
Source: Kindle Unlimited
Genre: Mystery, Suspense

Crime writer Olivia Cruz is drawn into the dark secrets of a missing friend in a terrifying novel of suspense by #1 Wall Street Journal bestselling author Melinda Leigh.

On the three-year anniversary of true crime writer Olivia Cruz’s horrific kidnapping, she’s scheduled to walk her podcaster friend Zoe March through the crime scene, but Zoe fails to show. Olivia knows Zoe would never stand her up—not today.

Zoe’s husband, who claims she never came home the night before, has reported her missing. But marital conflicts make the police suspect she has left him. Olivia thinks otherwise. The police aren’t looking for Zoe, so Olivia begins her own investigation. Retracing her friend’s last steps, she finds Zoe’s phone and a text with one chilling word: Run.

It soon becomes apparent that Zoe has been keeping secrets, and with her true crime podcast, there’s no telling what she has unearthed. To find her, Olivia must dig into her friend’s past. Did Zoe vanish to escape a killer, and is Olivia walking into a deadly trap?



You Can Tell Me is the first installment in author Melinda Leigh's Olivia Cruz series. Key characters: Olivia Cruz, Zoe March, Nicki, and Lincoln Sharp. True-crime writer Olivia Cruz is still recovering—physically and psychologically—from a horrific kidnapping three years earlier. On the anniversary of that trauma, she has agreed to revisit the crime scene with her friend Zoe March, a successful true-crime podcaster, for an interview that Olivia hopes will help her finally move forward. 

When Zoe fails to appear, Olivia knows something is terribly wrong. Zoe would never stand her up on this of all days. Zoe’s husband reports her missing, but marital strife leads police to treat it as a possible voluntary disappearance. Olivia refuses to accept that and launches her own investigation. Retracing Zoe’s steps, she finds the podcaster’s phone and a chilling one-word text: “Run.” It quickly becomes clear that Zoe had been keeping major secrets, possibly tied to her podcast work. 

As Olivia digs deeper—assisted by her boyfriend, PI Lincoln Sharp, and her niece Nicki—she uncovers connections to a thirty-year-old cold case, hidden family lies, and predators who have operated in plain sight. The story blends a missing-person mystery with Olivia’s personal trauma recovery, themes of friendship, trust, and the dangers of true-crime investigation. Side plots involving Nicki add emotional layers and tie into the central threat. The climax is particularly wild, involving a villain confrontation, a black bear, a flash flood, and a submerged car—exactly the over-the-top excitement many thriller readers crave. 

Olivia is a compelling protagonist—resilient yet vulnerable, determined but haunted. Her relationship with Lincoln Sharp (a carryover from Leigh’s Morgan Dane series) feels authentic and supportive without overshadowing the main plot. Nicki brings fresh energy and a younger perspective. Fans of Leigh’s interconnected Scarlet Falls / Morgan Dane world will enjoy cameos without feeling lost if this is their entry point. 

The novel smartly explores the ethics and risks of creating true-crime content, the long shadow of trauma, and how secrets fracture families and friendships. It balances edge-of-your-seat action with emotional depth. A few plot threads feel crowded, and Olivia’s character can occasionally swing between timid and overly bold in ways that feel slightly inconsistent. That said, these are common in the genre and don’t derail the overall enjoyment.





Monday, June 22, 2026

#Review - An Ordinary Sort of Evil by Kelley Armstrong #Mystery #Suspense

Series:
 A Rip Thru Time # 5
Format: 
320 pages, Hardcover
Release Date: May 19, 2026
Publisher: Minotaur Books
Source: Publisher
Genre: Mystery, Suspense, Historical

New York Times bestselling author Kelley Armstrong returns to Victorian Scotland in the latest in the genre-blending Rip Through Time series.

Modern-day homicide detective Mallory Mitchell has grown accustomed to life in Victorian Scotland after travelling 150 years into the past into the body of a housemaid. She’s built a new life for herself. Even though she works as an assistant to forensic-science pioneer Dr. Duncan Gray and Detective Hugh McCreadie, she considers them true friends. And with Gray in particular, perhaps, someday, something more.

Late one night, Gray and Mallory are summoned urgently to the home of Lady Adler, a patron of Gray’s undertaking business, and they assume there's been a death in the household. But instead, they arrive in the midst of a seance with a ghost demanding Gray's presence. The ghost is Lady Adler's former maid, who had gone missing but now requests that Gray investigate her murder. Although Gray and Mallory are skeptical, they agree to look into the matter, whether she's dead or alive. But unsure if there's been a murder or not, unable to call out the medium as a fraud, and concerned for the fate of the young maid, Gray and Mallory are once again drawn into a mystery much more puzzling--and more dangerous--than it first seems


An Ordinary Sort of Evil is the Fifth installment in author Kelley Armstrong's A Rip Thru Time series. The story is set in 1870 Scotland, during the Victorian Era in England. Modern-day homicide detective Mallory Mitchell (now inhabiting the body of housemaid Catriona) has settled into her unlikely new life in Edinburgh in 1869–1870. She works as an assistant to Dr. Duncan Gray—a pioneering forensic scientist and undertaker—and teams up with Detective Hugh McCreadie on cases. 

Late one night, Gray and Mallory are summoned to the home of Lady Adler, a wealthy patron. Instead of a routine death, they walk into a séance where the "ghost" of Lady Adler’s former maid demands that Gray investigate her murder. Skeptical of spiritualism but unable to dismiss the request outright (especially given their patron’s status and the era’s fascination with séances), the duo begins probing. The maid was thought to have simply left for a better position, but when her body turns up, the case turns deadly serious. 

What follows is a layered mystery involving suspects from various social strata, questions about the medium’s legitimacy, hidden motives, and dangers that test Mallory and Gray’s partnership. The story stands alone as a self-contained mystery while advancing overarching series threads, including relationships and Mallory’s adaptation to Victorian constraints. Armstrong crafts an engaging, non-straightforward whodunit with red herrings, social commentary, and escalating stakes. 

The blend of forensic science (primitive by modern standards but cutting-edge for the time), police procedure, and séance-era spiritualism adds freshness. Tension ramps up in the latter half with intense, suspenseful scenes. Mallory remains a standout—sharp, sarcastic, and relatable as she navigates class/gender restrictions while applying 21st-century detective skills. Her banter with the pragmatic, science-minded Duncan Gray sparkles, especially in moments highlighting cultural clashes and flirtation mishaps. Side characters like Hugh, Isla, and the irrepressible Jack add depth and humor. 

Add in an actual historical person who appears to be a huge fan of the Detective Chronicles written by Jack, featuring Mallory and Grey, and it gives the story some brevity. After months of will they or won't they, Armstrong finally solves that question emphatically, and even Isla gets involved with trying to tell Mallory that everyone knows what is happening between her and Grey. The ending was really good, and I have to say, I am actually looking forward to seeing where this series goes from here. 



ONE

The patient is not cooperating. The sutures keep coming out, because she absolutely refuses to take it easy, no matter how hard her nurse works to keep her confined to her bed. It doesn’t help that she’s so young. It also doesn’t help that she’s a cat. A Scottish wildcat to be specific.

A month ago, my boss had to amputate her right hind leg after an accident, and short of permanently sedating her, we can’t seem to keep her from ripping out the sutures. Now I’m holding her, along with her “nurse”—our parlormaid, Alice—and she’s already bitten Gray twice. The kitten, that is, not Alice, though the thirteen-year-old can’t keep from glowering at her employer each time her precious baby yowls.

The patient’s name is Freya, from Alice’s recent obsession with Norse mythology. I’d suggested Houdini, for the cat’s uncanny ability to escape from any bandages we put on her. Of course, no one else got the reference, probably because it’s 1870 and Houdini likely hasn’t been born yet.

My name is Mallory Mitchell. Or that’s my name in Victorian Edinburgh. I was born Mallory Atkinson, in Vancouver … in 1989. How I ended up in the body of a nineteen-year-old housemaid is a long story, but I’ve been here just over a year, in the household of Dr. Duncan Gray, physician turned undertaker and early forensic scientist. I’m no longer a housemaid, thankfully. I’m Gray’s assistant, which is a position much more befitting of a former police detective. Even if my current job is wrestling a very small and very pissed-off wildcat.

“Mallory…” Gray says through gritted teeth. “The patient needs to be restrained.”

“The patient is a five-pound fanged eel masquerading as a kitten. Are you sure you don’t want to sedate her?”

Gray only grunts. The problem is that Freya rips her stitches too often and anesthetic is still relatively new. Gray—rightfully—is concerned about overusing it on such a young patient, and I have to give him credit for that. As with so many “miracle” advancements, chloroform and ether are used a little too zealously in this world, right up to being given out at parties. Because nothing says “a good time” like passing out cold in your host’s living room.

“Can you hold her for a moment, Alice?” I say. “I have an idea.”

She restrains Freya, while cooing and petting her, and promising this will all be over soon. I grab a small strip of bandage. Then, after getting Gray to hold Freya’s head, I blindfold her. She instantly goes still.

I exhale. “Now, Alice, if you can keep her good back leg steady, I’ll look after the front end.”

With the mask on, Freya seems confused. Probably also freaked out, but not the hissing and biting kind of freaked out. I remember a friend who used a blindfold to brush her Persian cat, and the trick seems to work.

Gray swiftly restitches her tiny stump. Then he takes over holding Freya’s rear quarters as Alice bandages the area. Alice has plenty of experience doing that, and her small fingers fly.

When the front doorbell rings, we all glance in that direction. The grandfather clock recently struck nine in the evening, which means our housemaid, Jack, is gone. Gray’s sister Isla is out with McCreadie. Mrs. Wallace will have retired.

“Do you wish me to answer that, sir?” Alice asks Gray, her tone proper now that Freya is tended to, the evil kitten-hurting doctor replaced by her respect-deserving boss.

“I’ll get it,” I say. While it’ll still be light out, I don’t like the idea of Alice answering the door at night.

I leave Alice cuddling Freya and slipping her bits of fish from dinner. When I walk out of the laboratory, Gray is right behind me, because while I might not be willing to let Alice answer the door so late, he’s not willing to let me do it. Also, he’s curious, as always, but it would be unseemly for the man of the house to answer his own door, even if he runs his family business out of the building.

We live in a town house on Robert Street, in the New Town district of Edinburgh, which in this time means the area where people like Gray live. Educated professionals, yes, but also people with money. His father ran a successful undertaking business that put the family solidly in the upper end of the middle class.

After Irvine Gray’s death, the business should have gone to his eldest son. I’ve never even met Lachlan Gray—he’s off in … Asia? America? Who knows these days. Definitely not the stay-at-home type or the look-after-the-family-business type. The best person to run the company would have been Irvine’s oldest, Annis, who is a genius when it comes to business. But there was no way he’d bequeath it to a daughter. So when Lachlan refused, it went to his youngest—even though Gray is the illegitimate son Irvine brought home nearly thirty years ago.

Gray does not love undertaking. He does, however, love Isla and his stepmother, Frances, and so he took over the business to provide for them while he pursued his passion in forensics. His laboratory is here, on the ground floor, the rest of the level given over to the business of undertaking. So we don’t have far to go before reaching the front door.

I pull it open to see a middle-aged manservant on our steps.

“Good evening, miss,” the man says. His face is ruddy and he’s short of breath, sounding as if he ran instead the whole way, despite the coach parked right behind him. “Is Dr. Gray at home?”

“May I tell him who has come to call?” I ask, as if my damned boss isn’t right behind the door, listening and waiting to decide whether he wants to be at home or not.

“I come from Lady Adler,” he says. “She needs Dr. Gray, urgently.”

I hesitate. Gray is a trained doctor with degrees in both medicine and surgery. But he isn’t licensed to practice, so unless this Lady Adler is a very close friend, she’d never call him for that. I’ve never heard the name, which means she’s not a close friend.

Yet that isn’t the only reason she might know Gray well. When it comes to romantic entanglements, his tastes run to sophisticated widows, and while I haven’t known him to be “entangled” since I arrived, his former lovers do tend to find reasons to renew the acquaintance.

When I look at Gray, though, he seems genuinely puzzled. That should mean this “Lady Adler” isn’t a former lover, but he can be a wee bit oblivious in this regard, honestly confused as to why women might reach out after their affair has ended.

“I fear I have not been with Dr. Gray for long,” I say. “Will he know what this is in regards to?”

“Lady Adler is a longtime patron,” the man says, with some impatience. “If you take him the message, I am certain he will come.”

“Patron…”

“Of his business?” the man snaps. “As an undertaker? I do not know who you are, miss, but I would strongly suggest that if you wish to keep your position, you should not interfere with your employer’s occupation. Particularly when it comes to very influential patrons.”

“Of course. I am so sorry, sir. Dr. Gray has retired for the evening, and I was loath to wake him, but obviously I will do so immediately. Would you like to step inside? We have a waiting room.”

Gray’s look of alarm is very satisfying. Really, if the guy is just going to hide behind the door and make me run interference, he deserves a scare. Of course, the fellow refuses the invitation—he can’t leave the coach on the road—and I assure him I will fetch Dr. Gray immediately.

Then I shut the door and glare. “Please tell me you know who Lady Adler is.”

“Of course,” he says.

My glare deepens to a scowl. “Then why did you act as if you didn’t?”

“I am confused by the summons, not the name.”

“I presume someone has died.”

“Perhaps. But to show up at my door? At night? That is not done.”

He has a point. In this time period, undertakers have nothing to do with the bodies. His laboratory isn’t for embalming. When someone dies, the grieving relatives hire Gray to make all the necessary arrangements for the burial, the service, and so on.

“Does no one ever call you out in the middle of the night?” I ask. “When they’re in shock and all they can think to do is make the necessary arrangements?”

“It has happened, but it is exceptionally rare, and that is not like Lady Adler.”

He has a point. In my world, we might panic at having a dead body in the house and call the first person we can think of to help. If our family has an undertaker they’ve used before, it could be that person. But Victorians are much more accustomed to death.

Here, people die of disease and accident all the time, and you don’t shove the body out the door as quickly as you can. You keep it until the service, and people pay their respects in your home. To an unembalmed corpse. Well, no, not always. Because while bodies aren’t embalmed by undertakers, I actually found it mentioned in a book. A book of household hints with instructions so the women of the house could keep the body of their loved one fresh throughout the visitation period.

Say what you will about the Victorians, but while they may have a reputation for pretty manners, they were not squeamish. Well, not when it comes to death. Sex is a whole other matter, though from what I now understand, they’re only reticent about discussing it. They’re certainly doing it.

“This Lady Adler…” I say. “Could she be summoning you for … anything else?”

His expression is adorable bewilderment. Oh, I know I shouldn’t call it adorable. I doubt anyone else would. Gray doesn’t have that kind of face. It’s perpetually serious. Handsome, but in a severe way, cool and austere.

“Is she … a widow friend of yours?” I prod.

I say it as delicately as I can, but that doesn’t keep him from going red. Victorians.

“Lady Adler is at least sixty,” he sputters.

“Well, I know you don’t have a problem with older women. Is that too old?”

More sputtering. “She is married.”

“Ah, okay. Yes, you don’t do that.”

“I do not,” he says. “My relationship with Lady Adler is purely professional, and even then, I have only met her a handful of times. Her husband was friendly with my father. Isla knows her better, through their charitable work. Lady Adler is a renowned philanthropist.”

“Who is your … patron? What does that mean? That you’re her family undertaker? Like being the family lawyer? I know the death rate is high in this time, but it still doesn’t seem like a regular job.”

“Her father used our services and recommended them to others, and Lady Adler does the same. It’s the recommendations that make her a patron. Her support is immensely valuable, as her family is very well respected and connected.”

“Ah, so she’s responsible for a good chunk of your business—not directly, but by sending clients your way. And I presume those clients recommend you to others.”

“Yes.”

“Is it okay to convey your regrets, then? Tell the driver I cannot rouse you? Or you are not at home?”

Gray’s shoulders slump with a look that is as adorable as the bewilderment. He wants to refuse. He might not like undertaking, but he’s very good at it—the organizational parts, at least. He can make the arrangements efficiently and expediently at a reasonable cost, never cheating the client, which is a huge issue with Victorian undertakers. What he’s not so good at? Dealing with the mourners themselves.

Since I have experience with grieving relatives as a police detective, I’ve started handling that where I can, leaving him to support them in his way—taking all the arrangements off their shoulders. If Lady Adler is summoning him at this hour, though, she doesn’t want to arrange a funeral. She needs comfort.

“I could do it,” I say.

He shakes his head. “That would be an insult to someone of Lady Adler’s stature. I must go. But if you would come with me…”

I smile. “Of course.”