Who wants to kill Adriana Ford? And how many will die before the villain is found?
The first question to be answered in any Golden Age mystery featuring Miss Silver is simple: How will the retired governess-cum-detective acquire her client? Up to now in the series she has been hired by total strangers on trains, via word-of-mouth from satisfied clients, been called in by the police, and more or less stumbled into situations. In The Silent Pool (first published 1953), it’s much more straightforward — the client calls Miss Silver for an appointment. How quaint! But that’s where the humdrum aspects end.
For one thing, the retired stage actress visits Miss Silver in disguise (seen right through by our sharp-eyed sleuth, of course). Adriana Ford thinks someone in her ragtag extended family may be trying to kill her for her money — there’s been a fall on the stairs, a possibly poisoned soup, and a suspicious medicine tablet. After spilling all this to Miss Silver, the actress decides she’s being overly dramatic and declines Miss Silver’s help. But after the first body shows up, she puts in a call to our Maudie to come sort things out.
Throughout this series (we’re on Book 25 here) I’d gotten used to Miss Silver not showing up until perhaps the middle of a book or even later, so it was a surprise to see her right there in the first sentence this time. That fact, combined with a rather lengthy bit of exposition in the first chapter that brings readers up to speed on Miss Silver’s backstory, makes me think this book was seen as a chance to hook some new readers into the Tribe of Maudie. If you’re one of those people who don’t feel the need to start a series at the beginning, this could be a good one to begin with. But surely you wouldn’t do that, would you?
Anyway, the story is a good one. There’s a satisfying surfeit of suspects (though some clearly preposterous red herrings) and some pleasant characters to root for although not, interestingly enough, the client. In other books Miss Silver forms a bit of an attachment to her client that goes beyond a business relationship, but that’s not the case here. The rest of the cast confirms my theory that Wentworth had much more fun writing terrible people than she did nice ones. Her villains are always just so delightfully villainous.
I’m feeling a little melancholy as we approach the end of the series (just seven more left), but I’m pleased that each outing remains remarkably strong even this far along in the series.