The Glass Room: Ann Cleeves (Vera Stanhope)

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Don't let my musings put you off! Ann Cleeves is an excellent writer; she does not aim for a 'literary' approach, but if - as I would argue - the real measure of writing skill lies in the ability to communicate, she is at the top of her profession. Devouring her novels is an effortless pleasure - not that she doesn't make you think, but she has the skill to lead and direct the reader without appearing to do so. Finally at one point, Joe manages to carve out some time at home for his wife Sal and their ‘bairns:’

The Glass Room” has a wonderful theme and setting for readers and hopeful writers. Being inside Vera’s head, combined with the several well-placed twists, makes this a very good read. There’s nothing better than a good plot twist. One dealing with the forensics of the murder is even more clever. There is, however, one significant problem; the author/editor couldn’t seem to decide on the manner by which the first victim died. This could rather throw one out of the flow of the story. Still, the plot twists are well spaced and very well done. As should be, one doesn’t see them coming, but they are very effective when they do. There is very good drama and suspense. In the end, all the questions are answered. From CWA Diamond Dagger Award winner Ann Cleeves comes The Glass Room, the fifth book in the Vera Stanhope series, published for the first time in the US. DI Vera Stanhope, at the request of a frantic neighbour who’s mislaid his wife, heads out to the Writers’ Retreat, where publishing-establishment figures and literary hopefuls are gathered to see what each can learn, and plagiarise, from the rest. Vera hopes to talk sense into the errant wife; she isn’t expecting to find a corpse, (Professor Ferdinand, in the conservatory, with the kitchen knife). Nor her neighbour the prime suspect. Forget about solving all these crimes; the signal triumph here is (spoiler) the heroine’s survival.

Read all about The Rising Tide here. Or visit Lindisfarne, and the setting for The Rising Tide, with The Book Trail. I loved the setting for this book on an isolated and rugged stretch of the Northumbrian coast. The story itself mirrors a classic crime novel—a captive number of suspects in an old remote, rambling house, several with a motive for murder. The way in which people regard each other, often completely wrongly, is woven into the narrative with insight, as is the world of writers and publishers. A well plotted and paced story with believable characters has enough twists to send the reader (this one anyway) in every direction but the right one.

It had been a mistake to get to know these people. Let folk into your life and they started making demands. She hated people making demands. No! I did. As I’ve just said. And as I told your colleagues. On my way to the glass room, while Mother was still screaming, I bumped into the woman here in the corridor She had a knife in her hand.’ I’ve got a birthday treat for you, lad.’ And he listened as she talked about the murder, recognizing her excitement. Hearing too his wife’s voice in his head: That woman’s a ghoul – the delight she takes in other people’s misery. The TV characterisations are slightly different to the books. In the televised version Vera is still short-tempered but slightly less abrasive and not portrayed nearly as large. Her vulnerability and flaws are evident in both, I’m glad to say, which makes her a more rounded and engaging character despite the brusque manner. It makes a nice change to have someone quirky and not at all stereotypical as the main protagonist. Joe is much more adult in his dealings with the other members of the team, and the confrontational attitude between him and Holly is nonexistent. Ann Cleeves’ well drawn representation of the characters is excellent and I do enjoy being able to picture the cast in their roles, and the areas the stories are set.

Customer reviews

Vera, present in a personal capacity, calls in the local police and her colleagues from CID. Those present at Writer's House at the time of the murder are rounded up and all but a handful eliminated from the enquiry for logistical reasons. The remaining suspects or witnesses include Miranda, the owner of the house and business; her son Alex; a retired policeman now hoping to be a published author; a young man who has discovered a writing talent while in prison; an elderly famous crime writer who is teaching on the course; and another teacher, Nina, an academic and aspiring writer. By the process of elimination, one of these people, or Joanna, must have committed the crime – though there is the outside chance that a random stranger could have gained access. Cleeves is an extremely skillful plotter and all of the necessary clues are woven into the narrative, but they are so subtle and integrated into that narrative that I defy any reader to identify them and solve the mystery before the end. Moreover, there are several plot twists, the first murder is not the last, and the reader/detective must be very nimble to keep up. As in all of the books, one of the most enjoyable features is the relationship of Vera to the various members of her team and the way she manipulates and uses them, especially her sergeant, Joe. Cleeves' characterizations paint masterful portraits of Vera and the team and she allows us to eavesdrop on the interior dialogues of Vera and Joe which gives added depth to their relationship. Calling in the team, Vera knows that she should hand the case over. She's too close to the main suspect. But the investigation is too tempting and she's never been one to follow the rules.