I wasn’t enamoured of the last Ruth Galloway mystery I read, The Ghost Fields, though the previous one, The Outcast Dead, was one of my favourites. My moue of disappointment with The Ghost Fields didn’t deter me from plunging into another Ruth Galloway, The Woman In Blue. Griffiths’s Norfolk-set mystery series is one of my great comfort reads and I’ll never miss a one. I read many series (my favourite being, as you may well know by now, C. S. Harris’s Sebastian St. Cyrs), but the Ruth Galloways, though not cozies by far, offer a true comfort escape. Maybe it’s because Ruth reminds me of yours truly: living on her own for years, with a gourmandesque penchant for overeating, content with her books, work, and cat, Flint. Now somewhere along the way, Ruth manages (be warned, spoilers ahead, if you’re not up-to-date on the series) to have a tender, not-icky, one-night-stand with my second favourite series character, DCI Harry Nelson, fall in love but retain her proud independence (Nelson is married to the ethereally beautiful Michelle) and the result: the know-her-own-mind, mulish Kate, Ruth’s daughter, five in The Woman In Blue. Ruth teaches at North Norfolk University, has a vain peacock of a dislikeable boss, and is, in each book, embroiled, in her capacity as a forensic archaeologist, in a police murder investigation and once more, is close to her unrequited love, DCI Harry Nelson. Continue reading
In 1885 Gatlinburg, Tennessee, Jessica O’Malley discovers “a bruised and battered man,” “his celestial blue eyes” anguished and confused. She half-carries him to the cabin she shares with her mother, Alice. Jessica and Alice care for his wounds, but there is no healing for his mind. What- or whom-ever brought him to this state rendered such a blow to his head that man they call Grant Parker (from a dedicated Bible they found in his pack) cannot remember who he is, where he came from, what he did, or why he was left for dead on their homestead. Karen Kirst’s Reclaiming His Past contains elements that are some of Miss Bates’s favourites: a temperamental heroine, mysterious hero, an idyllic setting, and AMNESIA narrative! Kirst made wonderful use of the trope, so dear to soap-lovers everywhere, to say something about coming to terms with oneself and one’s past. She created a clever contrasting counterpoint between hero and heroine: Grant can’t reclaim his past because it’s a blank; Jessica, in turn, is haunted by hers. Grant and Jessica work together to find answers and lay ghosts to rest to forge a new, beautiful, and hopeful future. Grant struggles to figure out his identity and purpose, while Jessica struggles to put away her cynicism and suspicion. What they share, even when their exchanges are antagonistic, or problematic, is a prayerful stance towards God: whatever their trials, they call on Him for help and understanding.