Gillian is linked to the victim through old friends and to the police through Edward. Well-placed to investigate the murder, she turns up evidence of venomous professional rivalries and at least one clandestine liaison. Not to mention that the victim, a volunteer at the Pregnancy Information Service, was herself pregnant.
Then a second body turns up. There is no compelling evidence to link the victims. As the police siti the facts, Gillian looks at the crimes from a feminist perspective, seeing that that science, contemporary mores, and more conservative traditions have produced a volatile -- indeed, fatal -- mixture....
"synopsis" may belong to another edition of this title.
"Nora Kelly has really caught the London that I love. The landscape, the people, and the idiom: they are all here." -- Natasha Cooper, former Chairman, Crime Writer's Association
"Intelligently conceived academic mystery...timely and literate." -- "New York Times "of "Old Wounds"
"This is Amanda Cross-land, with a loosened literariness but tighter screws on the action. --Oxford Times
"Nora Kelly has really caught the London that I love. The landscape, the people, and the idiom: they are all here." -- Natasha Cooper, former Chairman, Crime Writer's Association
"Intelligently conceived academic mystery...timely and literate." -- New York Times of Old Wounds
BACK IN CAMBRIDGE, HISTORIAN GILLIAN ADAMS FINDS MURDER WAITING...
The death of a brilliant young scientist in the Chemistry Department at Cambridge shocks both the university and the town, and Gillian Adams – a Canadian academic in Cambridge for the summer – finds herself caught up in the midst of investigations.
Venomous professional rivalries and a clandestine love affair are only two of the motives for this vicious murder. When a second body turns up there appears to be no links with the first, but everyone knows that if the deaths can be tied, the thread will lead to the murderer. While the police methodically sift the evidence, Gillian takes a different approach, asking the questions that only a woman can.
‘Kelly is as stunning on the evocative geography of workplaces as she is at dry, educated repartee. A chilling intrigue, which shrewdly examines professional jealousies and warped psychologies’
JOHN COLEMAN, 'Sunday Times'
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