Kate Ross (1)Recensioni

In the 1820s in northern Italy, the Marchese Lodovico Malvezzi—powerful, arrogant, music-obsessed—is found dead. That the Marchese was murdered is hushed up for some years, allowing the main suspect, a young singer known only as Orfeo, to disappear. When the authorities realise that a crime was committed, the famous English dandy and sleuth Julian Kestrel learns of it and travels to Italy to unravel the truth behind what happened, while also finding himself entranced by Lodovico's beautiful young widow, Beatrice.

The Devil in Music is stronger than the previous work of Kate Ross' that I've read, [book: Whom the Gods Love], and she was clearly improving as a writer before her untimely death not long after this final book of hers was published. Having a Regency-era country house murder mystery take place in Italy is a nice shake-up of the usual formula, since it lets Ross bring in elements of contemporary Austrian/Italian politics to add complicating factors. This wasn't a bad wintry holiday read. That said, parts of the plot/exposition/reveal are lumpier than needs be, and the core romantic relationships both fail to convince and feel like they belong to a book written much earlier than the '90s.½

This gallops along at a very enjoyable clip for the first two-thirds or three-quarters, with the dandy and amateur sleuth Julian Kestrel roaming around 1820s London trying to solve the murder of another member of the Ton, the (perhaps too-charming) Alexander Falkland. Kate Ross writes a serviceable Regency-ish pastiche for the most part, although the servility of the working-class characters and their cod Cockney dialogue grated a bit.

And then it all sort of falls asunder a bit.

The unfolding of the whodunnit in the last part required suspension of disbelief about some very stagey, melodramatic elements and moustache-twirling villainy, all of which sat uncomfortably alongside some revelations that were far darker than you might expect to encounter in this particular genre of novel—in fact, darker than Ross seemed to have fully grasped. That Whom the Gods Love was written in the mid-90s is also pretty apparent in some of the dated ways it frames gender, sex, relationships, and ethnicity.

(This isn’t a straight-up reworking of The Merchant of Venice, but there are some nods to it. And that particular Shakespeare play has some beautiful language, but it’s also deeply messed up. Ross creates here a character who is the archetype of the Self-Loathing Rich Jew, one who nurtures a passion for a beautiful, blonde Christian woman whom he barely knows desperate enough that he’ll forgive her husband tens of thousands of pounds worth of debts for the chance to have sex with her—in other words, since she neither knows about this in advance nor is willing to do so, for the chance to rape her. Near the end of the book, we’re told that the woman in question “understands” why the man did it and that “she forgives [him]”, that they’re “two of a kind” and that this “was a great love squandered.” If you’re not wrinkling your nose after reading all of that, I don’t know what to tell you. Add to that a Portia-esque character who’s written in a way that today would probably be interpreted as non-binary/genderqueer but who ends the novel having reverted to heteronormative modes of dress and behaviour and seems happy to be married off to a man twice her age, and you get a book that really, truly lost me in the last few chapters.)½

Good mystery. Generic English historical-fiction setting that made me think about how Georgette Heyer establishes a sense of time, whether 18th or early 19th century. Much of her genius is in the details of clothing, which reflect extensive research and comprehensive notebooks; there is also a great deal of mention of current events, whether balloon ascensions or the Napoleonic Wars. This book lacks those (we are told but not shown that J. is a leader of fashion!), and could have been set in the time of Dickens, or Jack the Ripper, just as easily. I was quite a ways into the book before it was entirely clear when it was supposed to be happening. There is also a romantic interlude with perhaps the least compatible couple I have ever met in literature, and I have read the epilogue to Harry Potter and the Deathly Hallows, so that is saying quite a lot.

But it was a good mystery, well constructed, and fun to read. Definitely earned at least three-and-a-half stars.½

I dearly needed a novel and this filled the bill. But lordy, what an anachronistic bundle of romance among the Dickensian grime. The dialogue is handled well. But the characters in this strictly proscribed historical social setting seem to have very little awareness of class or morality.

August 2018 reread: Just as good as I remembered it to be!

This has to be the best historical mystery I have read in a long time. The characters are good, the story is interesting, and though I was pretty sure I'd figured out who the murderer was, I couldn't figure out why they did it. I liked that the detective is left a bit of a mystery--more to discover if I can ever find the next book in the series! I think that what I liked best, though, was the treatment of the historical setting. Most historical mysteries bombard the reader with historical details to the point that the mystery and characters are buried. It's like looking at costumes in a museum rather than reading about the people who wore them. Please don't get me wrong, I love history and used to be a history major. I enjoy historical detail. I just think that in a mystery it is important to focus on whodunnit rather than on what everyone's shoes looked like, what the latest society gossip was, and why this particular kind of tea was so expensive (unless those things actually have bearing on the story). I like historical mysteries where the people are people, no matter what the setting, and this is definitely one of those. I really hope I can find the next volume! hehe a warning though, if you read this you may find yourself thinking in Dipper's weirdly charming criminal slang for quite some time!

This was definitely bittersweet! I think this was Ross's best book to date but it was also tragically, her last! We learned so much more about Julian in this story that I know she must have had big plans for his character going forward. Its unfortunate that her life and writing was cut so short. Im going to miss Julian and Ross's stories! Rest in Peace Kate Ross!!

I think Ross does a fantastic job of writing a complex mystery with many different interlocking facets. Thats what I like most about her writing style. She really does know how to spin a tale. Her mysteries and endings are never simple. It's tragic that her life was cut so short and I will make sure to savor her final book which I'm looking forward to reading next.

I thought it was an enjoyable read. There was a little complexity to the mystery that I liked. The only thing I didn't care for was Julian's fling with Sally. Maybe it would have happened in the real world, maybe not, I understand this is fiction but he was just way too understanding with her profession and discussing her sleeping with 3 guys back to back like it was nothing. Eewh! : (

I thought it was a great start to the series. Normally, it seems like the first books arent always as good as books written further along in the series because the author is still developing but I thought this book was really well written. It also had a who-dun-it flair to it that I really liked especially combined with the Regency era. I know that I could really like Julian Kestrel and I already really hate that I only have him for four books but as the saying goes some is better then none....

I read this as a buddy read with friends. I have mixed feelings about it. I like some aspects a lot: Kestrel, Dipper, the relationship between them in particular. And I like the introduction of Dipper's sister, Sally. The mystery itself was interesting and led to an exploration of a house for fallen women where religious types "reformed" them. There was also a connected mystery which involved a scion of a wealthy family who may or may not have been involved in the main death. Once again Ross mixes the high and low societies of London in relatively believable ways.

In terms of what I didn't like: I find it increasingly difficult to believe the relationship between Kestrel and Dipper, and introducing Sally made it even more unlikely. Of course no man is a hero to his valet, but we are supposed to accept that Kestrel is both a highly respected man of the ton and also best buddies with his ex-pickpocket manservant. The social distance that would still exist just wasn't there for me. And Kestrel's relationship with Sally was even more far-fetched. Are we supposed to buy that a man of his interests and tastes would fall in love (not lust, but love) with an illiterate prostitute? Sure, she has a heart of gold and street smarts, but I still think Kestrel would want to talk to the love of his life.

I had a similar issue with the mystery, especially when it came to the Earl's son. The lack of information until the last minute depends on no men ever sharing secrets or being interested in emotional and personal issues (that's apparently women's work). But it just doesn't ring true that he could keep a huge secret for years, especially given he wasn't all that good at dissimulating.

Finally, how many fridged women is Ross going to write? Why is it always young women? Why the sex slavery? Maybe it's the era she's writing in (or to), which did hinge a lot of plots on extremely dastardly villains and innocent victims. At this point I'd like to see another setup.½

I read this years and years ago and remember liking it a lot, but I don't remember any of the plot or characters (apart from Julian K.). I picked it up again as part of a buddy read on Twitter and was a little apprehensive. But no need, it holds up beautifully.

I'll save the details for our group discussion, but I really enjoyed the reread. Ross did a terrific job integrating a Regency Historical writing style with a murder mystery. There are a few Americanisms sprinkled through the text, but not many, and overall it's far more historically authentic feeling than the AU/"Recency" books that are all over historical romance today. Julian remains a wonderful, complex character. Astonishingly assured for a debut novel written by someone with a demanding day job, and I'm reminded all over again how much we lost with Ross's death at a young age.

One caveat: the women characters occupy pretty stereotypical roles (although they aren't cartoons by any means) and the plot turns on the murder of a very pretty, petite, woman. So a bit of fridging. If you are avoiding these types of plots, you might want to take a pass.

Otherwise: Highly recommended.

A few months after Julian Kestral, a fashionable lounger, helps Hugh Fontclair out of a scrape, he's invited to be best man at Hugh's wedding. Kestral is surprised--he's only met Hugh that once--but intrigued. He travels to the Fontclair estate, hoping for a restful vacation in the country, only to find that the family members are all at each others' throats. Then someone is found murdered. First because he's curious, then because he's worried for his manservant, Kestral insists on investigating.

The mystery itself is meaty and delightfully difficult. I guessed a few hints of it, but the resolution was a total surprise to me. But although her plot is excellent, where Ross really shines is her characters. The supporting cast is unique and interesting, each a well-rounded character in their own right. (The women are particularly good. Every single one of them was someone I'd have read an entire book about.) But Julian Kestral is the one that truly shines; he's like a Regency-era Peter Wimsey, but without the education or blue-blood. He's too smart and perceptive for his own good, and far too tender-hearted to do well in the maneuvering Regency society.

I love him beyond all reason, and hanker for more.

Julian Kestral is such a dandy that his style is copied everywhere, but his true gift is in sleuthing. When his valet's sister stumbles upon a chilling letter, he takes the case. The mystery is twisty and dark, and solved through a combination of legwork, wit and courage. I love the dialog in these books, which is snappy but always feels natural. The relationships between characters are my favorite part. Dipper and his master, Kestral, live together in a wonderfully symbiotic way, and his sister's cocky, forthright addition to their dynamic is adorable to read. Rare among mystery series, the characters from the first book's mystery (Dr.MacGregor, Philipa) pop up again in this book, which makes everything feel more realistic. (After sharing such intense emotions and experiences, it seems unlikely that they would all fall out of touch, just in time for another mystery to pop up, as generally happens.)

Regency mystery, ensemble English manor. plot kind of came undone at the end

Reading this for my mystery book club. Read it first several years ago and loved it.

Reading this for my mystery book club. Read it first several years ago and loved it.

Reading this for my mystery book club. Read it first several years ago and loved it.

I give up. After procrastinating for almost a week, I'm still no nearer articulating my reaction to this book. Instead, I keep recalling Northwest Smith's reaction to transcendental beauty in C. L. Moore's "Black Thirst" — a mind-disorienting sense of vertigo.

[b:Cut to the Quick|351385|Cut to the Quick (Julian Kestrel Mysteries, #1)|Kate Ross|http://photo.goodreads.com/books/1223675280s/351385.jpg|742856] is a Regency murder mystery in the tradition of the Golden Age of Detective Fiction adhering, consciously or unconsciously, to Knox's Rules or Van Dine's Commandments. No twists, no plot holes, no omniscient narrator sleights-of-hand. Just a perfectly crafted murder mystery, sparkling with unexpected delights.

Foppish dandy Julian Kestrel is invited to a country house party, where he uses his powers of observation and deduction to solve murder most foul.

Like a mephistophelian crossword or a 2,000-piece jigsaw, the narrative is meticulously plotted and carefully constructed. Once the mystery is unveiled, the reader realises that every single hint, every single clue, to the solution was provided earlier in the book.

I have no idea how Ms Ross researched this book, but the depth and breadth of the historical detail makes other Regency novels look shabby in comparison. Not only the detail, but the style and register of the prose is utterly in character.

It doesn't get much better than this. I've already purchased two other books in the Kestrel series and am hunting around for the fourth.

The start of one of the best thought-out murder mystery series I've read in a long while. Julian Kestrel, dandy and style-setter, is invited to Bellegard as a member of a wedding party. A body turns up in his bed: a mysterious young woman, beautiful, stabbed in the back. Suspicion falls upon Dipper, Julian's valet. But the family offers far more promising ground to investigate. Unfortunately, the local magistrate is head of the family. Beautifully plotted, you'll be able to just vanish into the world Kate Ross created.

I enjoyed reading it and would read more in the series.

Alexander Falkland, one of the darlings of English society, has just been murdered -- bashed over the head with a poker in the middle of a party at his own house. The Bow Street Runners are at a loss to discover the killer; after all, who would want to murder a man who was universally liked? When the official investigation goes nowhere, Alexander's father enlists the help of Regency dandy/sleuth Julian Kestrel. As a man of Alexander's own social class, Julian has unique access to his friends and associates that the Bow Street Runners could never obtain. Julian agrees to take the case, but he warns Alexander's father that unpleasant truths might emerge. And indeed, the further Julian digs into Alexander's life, the more shocking secrets he uncovers, including several motives for murder.

I absolutely loved the first two books in the Julian Kestrel series, and I'm thrilled to be able to say that I loved this one as well! The strength of most mystery series depends on the protagonist, and Julian Kestrel is a wonderful sleuth: intelligent, intuitive, willing to cooperate with the police (a rare trait!), and always impeccably dressed. I also think this book is very well-plotted. Obviously there is more to Alexander Falkland than meets the eye, but the various twists and turns of the plot kept me in suspense until almost the very end of the book. My only problem with the book is that I really liked one particular character who ended up doing a horrible thing in the course of the plot. Because of this, the resolution of the mystery wasn't completely satisfying for me; but I suppose that's a testament to the author for making me care so much about that character! In short, I'd definitely recommend this book (and the entire series) to anyone who enjoys mysteries or historical fiction!

I had mixed feelings over this mystery, first off, it was very clever and I did not guess in a million years who Orfeo really was, so it had me there! But, there were some areas of the book that dragged. Julian doesn't even enter the scene until Part II, after the entire first part leading up to the murder of the marchese. I did find myself getting a bit bogged down with all the Italian characters and wondering why this, why that, but by the end it all made sense. About the end, well, I think about 25 pages could have been edited out . The entire ending and wrap up just seemed to go on forever! Once we knew the truth and all secrets revealed, she should have wrapped it up. Still, I thought it was very good overall, and I'm sorry we lost such a fine author in the late Kate Ross. This is a wonderful, thoughtful series for fans of historical mysteries.

3.5/5½

I had stumbled across Kate Ross’s most recent novel [book: Whom the Gods Love]. Her detective is Julian Kestrel, a rake who, with the help of Dipper, a reformed pickpocket, solves crimes that leave the Bow Street Runners (Scotland Yard’s predecessors) baffled. Naturally, I wanted to read the earlier Kestrel novels and I’m pleased to report that Ross’s first novel, Cut to the Quick lived up to my expectations. Julian has been invited to be best man at the wedding of Hugh Fontclair. He soon realizes something is amiss. The wedding is a forced one. The Fontclairs, members of “quality,” the English upper crust, would normally never stoop so low as to have one of their members marry the daughter of a mere tradesman, and one who had been forced from their service years before. Dipper finds himself in a fix, when a young woman is found murdered in Kestrel’s bed, behind locked doors. No one knows who the woman is, and Dipper is imprisoned for the crime when it is revealed that he had lied about his location at the time of the murder. Julian’s investigation uncovers a myriad of motives and secrets in the lives of the Fontclairs that they would sooner have remain hidden. No more clues. Ross’s novels take place in the early nineteenth century, and she has obviously done a lot of research into the language and morals of the class-based and hypocritical English society. I’m sure Ross’s other Kestrel novel, [book:A Broken Vessel], will be equally literate and entertaining. I’m looking forward to it.

Ross’s detective is Julian Kestrel, a rake who, with the help of Dipper, a reformed pickpocket, solves crimes that leave the Bow Street Runners (Scotland Yard’s predecessors) baffled. Naturally, I wanted to read the earlier Kestrel novels and I’m pleased to report that Ross’s first novel, Cut to the Quick (both in the paperback collection) lived up to my expectations. Julian has been invited to be best man at the wedding of Hugh Fontclair. He soon realizes something is amiss. The wedding is a forced one. The Fontclairs, members of “quality,” the English upper crust, would normally never stoop so low as to have one of their members marry the daughter of a mere tradesman, and one who had been forced from their service years before. Dipper finds himself in a fix, when a young woman is found murdered in Kestrel’s bed, behind locked doors. No one knows who the woman is, and Dipper is imprisoned for the crime when it is revealed that he had lied about his location at the time of the murder. Julian’s investigation uncovers a myriad of motives and secrets in the lives of the Fontclairs that they would sooner have remain hidden. No more clues. Ross’s novels take place in the early nineteenth century, and she has obviously done a lot of research into the language and morals of the class-based and hypocritical English society.