I like mysteries, especially procedurals, and I like historical novels, and this book satisfied me on both counts. The setting (1796 in a Shaker settlement in Maine) puts some interesting constraints on the procedure for solving the crime, but it also sets up the intriguing twists and subplots that fill out the main narrative. The central character, Will Rees, is the perfect "detective" for this situation; he's likable and credibly motivated. His relationship with his son, who has run away to join the Shakers, adds a warm human counterpoint to the attempts to solve the mystery--and it's not just tacked one; it's an integral part of the story. The other characterizations (especially those of Lydia Jane Farrell and Sheriff Coulton) are equally engaging, and persuasively woven into the plot. The storyline becomes complicated--a bit too much, I think--but the unraveling of the crimes is clear and satisfying: I didn't feel cheated or fooled. I suspect that Will and Lydia Jane appear again in a sequel or two. I hope so.

At first I was bothered by moving back and forth among the various parts of the narrative, a device that seems to be more and more prevalent among mystery writers. But Crombie is a mature, experienced author, fully in command of the plot; she who knows just how far to stretch the suspense before getting on with the main goal of solving the crime. The characters are varied and engaging, and the story's twists and layers will keep you reading. It all comes together in an unusually satisfying, completely credible way.

I like mysteries, particularly police procedurals, more than so-called thrillers, but this novel is an engaging mix of both. It's very readable: the plot has several twists, but they're not overly complicated or contrived. The story is driven by the narrator, who is brash and intelligent and who has an unusual backstory, which establishes his motives and provides some much-needed sympathy. The idea that secrets come back to bite you is not all that original, but Landay handles that meme in a credible way. I also liked the use of the transcripts from the grand jury; these excerpts furnished an effective counterbalance to the 1st-person narration and moved the story along quickly. I just wish the wife (Laurie) had been given more depth and had somehow been able to speak for herself.

This book moves right along. The plot has lots of twists and close escapes--maybe too many--but the historical details are interesting and skillfully woven in. The treatment of the relationship between Elizabeth and Robert Dudley is not the one given in those films with Glenda Jackson, Helen Mirrin, and Cate Blanchette, but it's actually quite believable and fully in keeping with the complex intrigues of the Tudor Court that the author so readily exploits.

A Short History of Women begins with this sentence: “Mum starved herself for suffrage, Grandmother claiming it was just like Mum to take a cause too far.” Mum is Dorothy Trevor, and the narrator is her daughter. From this intriguing starting point, the novel cycles back and forth through four generations of Dorothy Trevor’s descendants in England and America, focusing on the women and their sons. At first I found this structure challenging, mainly because the shifts are not chronological and jump ahead from 1914 to 2003, then back to 1898 and later to 2007. But eventually the connections begin to take hold, and the echoes and parallels among the generations create a rich pattern of reform, rebellion, and reaction to the history and politics of the times—from World War I to the invasion of Iraq and beyond.

The style is also challenging at first. Some of the first-person sections are like a stream of consciousness; we’re taken inside the narrator’s head, following her train of thoughts and emotions. But, again, I grew accustomed to the style. Reading this novel is something like breaking a code. Putting the pieces together is rewarding and enlightening. And the women are complicated, varied, and always interesting.

I was disappointed by this novel. The setting and some of the major characters had a lot of promise, and I was hoping for a fast-paced comic mystery. But the plot never got off the ground. For one thing, the author’s style was embellished with too many descriptive details about events and props that didn’t seem to matter very much. And then minor characters would appear without making any clear impact. I would say the book lacked focus. There were some witty exchanges and clever observations, but I wouldn’t recommend it.

This unusual detective series keeps getting better with each installment. Maisie Dobbs is an original creation; she’s thoughtful and deliberate, but not dull. The post-World War I setting adds intrigue and some emotional punch to the plot (which is also quite unusual). I found this an easy, engaging read. I recommend it for readers who don’t need a lot of overwrought action and manufactured suspense in their mysteries.