The back cover of the book had blurbs comparing it to both Jane Austen and Georgette Heyer, which makes sense because it features very similar characters and setting. Lucy, is the oldest daughter of a rural rector, who comes from a respectable family (her uncle is an Earl!), but without much money. She is responsible for most of the village duties of her late mother, including visiting the sick in the neighborhood.
This, of course, includes handsome, wealthy, but tormented Major Kurland, who has returned from the Napoleonic Wars broken in body and spirit. The murder mystery is introduced through a bit of a “rear window” premise, where the bed-bound major sees suspicious activity out of his bedroom window at night, and must recruit Lucy to be his eyes and ears in the village.
It doesn’t have quite the wit of Austen or the charm of Heyer; both Lucy and the major often tip over from feisty to downright cranky, and I could see myself easily losing patience with both of them. Peripheral characters are somewhat broadly written, as well. What really made the book stand out for me, though, was that Lloyd gives it just a touch a harsh reality among the genteel manners.
Lucy is intelligent and independent, and feels trapped by circumstances, both as a stand-in mother for her siblings and her religious responsibilities. Her father, in particular, is unpleasantly controlling and manipulative. The major is of course the romantic figure, but also battling very real PTSD and substance dependency. The novel manages to find a nice balance between the light-hearted and the gritty to create a very engaging read.
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