400 pages, Bantam,
ISBN-13: 978-0345540003
The
Grave’s a Fine and Private Place
is the next-to-last Flavia de Luce mystery (so far), and as with the last
several books I have read in Bradley’s chronicle of the Divine Flavia, I have
been slow-walking it, limiting myself to a chapter a night before bed in order
to savor what could very well be one of the last times this utterly fascinating
character comes to life (Bradley has never definitively announced that the
series is over, only that “he and Flavia are taking a break to sit and mull the
future while enjoying a nice cup of tea”; Flavia, I’m certain, wants to come
back and continue her chemical and investigatory antics). So I will continue to
savor the tales of this rather peculiar and utterly engaging young lady for as
long as I can.
We
find the de Luce’s on holiday after the tragedy that befell them at the end of Thrice
the Brinded Cat Hath Mew’d, attempting to reconnect as a family and find
their way in the world – which is when Flavia, her hand idly trailing over the
side of the punt they are relaxing in, snags a recently-drowned corpse of a man
dressed in theatrical garb by his gaping mouth (really, now; what better way
for Flavia to get her mind off of things than a smashing murder?). And so we’re
off as Flavia investigates the death of this young man far away from the
confines of Bishop’s Lacey and Inspector Hewitt and all of her other familiar
haunts. But Flavia makes due – helped as always by the ever-accommodating
Dogger, who takes on a greater role in this book.
What
follows is a standard Flavia de Luce mystery in which our freelance detective
pursues her own criminal investigation quite apart from the local constabulary,
led in this instance by one Constable Otter, who – like Inspector Hewitt – is
impressed and exasperated by Flavia in equal measure. But outside of the confines
of Buckshaw (and her laboratory), Flavia must make due with slap-dash techniques,
like using a teapot to conduct an experiment in her pub bedroom, an experiment
in which Dogger proves to be invaluable (an instance of foreshadowing,
perhaps?). But while Dogger assists throughout the book, it is Flavia, as
always, who is the motor that drives this vehicle, and she does so with her
usual verve, imagination and chutzpah.
And
the mystery itself is satisfying in its complexity and ambiguity. The corpse
that Flavia discovers is of one Orlando Whitbread, the son of the late lamented
Canon Whitbread, a clergyman who was executed three years previously for the
murder of three of his parishioners, known as the Three Graces. Was Orlando
murdered and, if so, why and by whom? Did his death have something to do with
his father’s and, consequently, with the Three Graces? If Canon Whitbread was
innocent of their deaths, then the real murderer must still be at large – and
willing to go to any means to keep their identity and crimes a secret. All good
stuff that keeps one guessing until the end and, if I do say so myself,
satisfied that the mystery was legit and justice was done, all thanks to
Flavia.
As
well, the long-delayed conclusion to the fate of Buckshaw, the de Luce familial
estate, should be coming to an end – and about damn time, too. We also have an
insight into what awaits Flavia in upcoming books, as well as others in her
circle: loyal Dogger; Aunt Felicity, member of the secret organization, the
Nide; Mildred Bannerman, once-convicted murderess and former teacher at Miss
Bodycote’s Female Academy; the floralarchaeologist Adam Tradescant Sowerby; and
even cousin Undine – as a new chapter promises to be written in the life of
this unique character – and, if I may be so bold, I applaud myself for
foreseeing a potential change in the character and her circumstances, sans
short skirts or go-go boots or Vespas
or poisons and bombs.
At
the end of my review of Thrice the Brinded Cat Hath Mew’d, I said that
Flavia must be allowed to grow up, as all children do; perhaps Bradley thought
so, too, for he has Flavia, after contemplating all of the chemicals (and
poisons) to be found in a church’s stained-glass windows, observe: “Such happy
thoughts are proof that I have become an adult. I am now ruled by not only what
I see, what I hear, what I taste, and what I smell, but also, and perhaps most
important, by what I think”. If so, then Flavia has always been an adult, for she
has been cerebral much more than emotional, more driven by her intellect than
by her baser functions. But the very fact that she (and Bradley) have decided
to take the training wheels off speaks volumes for what awaits us.