Robert Goddard writes exceptionally good historical thrillers, linking a past which has sown the seeds of the crime, and the present in which the harvest is brought in. In doing so, he displays exceptional qualities of exposition - of finding a vehicle to describe the past and make it relevant to the present without stopping the action and slowing the story.

Goddard plots his stories beautifully - he is, or should be, a model for would be novelists. His characters can reminisce, he can inject documents from the past, he can flashback and forward through time, and he can have his characters discuss the significance of history and specific, often arcane, events without for one moment decelerating the page-turning flow of his writing.

This is Goddard's sixth novel, maintaining an exceptional standard. A very English writer, but with catholic interests and perspectives, his writing is always intelligent, lucid, humanistic, and well-paced, his narrative weaving back and forth across a cast of characters and across cultures and eras. He sets up the twists very neatly, but very honestly. There's no sleight of hand, just excellent craftsmanship.

Goddard's thrillers are, perhaps, 'cosy' - his heroes, in so far as they exist, tend not to be macho men, but placid individuals caught up in a maelstrom of events. Their responses are human and flawed, their actions logical but hesitant. They are real rather than superheroes. The villains, too, are rational people, seeking to exploit and benefit from their crimes. What Goddard assembles is a recognisable set of possibilities - situations and crimes which seem plausible and possible, and not the exorbitant fantasy of Hollywood or some of the more strenuous thrillers.

Goddard's books are excellent accompaniment on journeys or a weekend in front of the fire. Excellent, well-written stories which keep you entertained, keep you engaged, and keep you turning the pages.


A real cliffhanger   December 24, 2001
 7 out of 11 found this review helpful

I became addicted to Goddard after reading Take No Farewell, and Hand In Glove shares many of the same features. Central to the plot is the determination of Derek Fairfax to exonerate his brother, who is suspected of murdering Beatrix Abberley, sister of the war poet Tristam Abberley. The plot gets murkier and more complex, until everything seems to fall into place. There's a nice twist in the final chapter too.


Goddard never lets his readers down   September 30, 2001
 7 out of 11 found this review helpful

As usual Goddard selects a most unlikely candidate for the lead role in this tale of murder, mystery, intrigue and wrongful arrest. The murder victim is wealthy Beatrix Abberly and the motive looks like robbery which puts antique dealer Colin Fairfax as prime suspect. Colin's brother Derek is the shy and unassuming hero called upon to prove his brother's innocence. He teams up with Beatrix' godchild who does not believe robbery is the motive. Together they uncover a trail of theft, evil and deceit. Don't expect to be able to put this book down. A great read from a master storyteller.