43 pages • 1-hour read
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Content warning: This section of the guide contains discussions of graphic violence, animal abuse, animal death, illness, mental illness, substance use, child abuse, and death.
On the train to Yorkshire, Lynley recalls Havers’s failed tenure in CID, and the public “diatribe” (68) that accompanied her removal. He notes her reserve and awkwardness and observes that Havers neither drinks nor smokes while she reads the Keldale file.
There are not fingerprints on the axe, and Havers notes that the dog lies beneath Teys’s body, suggesting that it died first and that the body wasn’t moved. The time of death was between 10 pm and midnight, Teys had chicken and peas for dinner, and barbiturates were found in his blood. Lynley remarks that sedatives are unexpected for a farmer, who shouldn’t need help falling asleep.
Nies meets them at York Station and warns them not to overstep their bounds. Lynley agrees and introduces Havers, after which they drive to the village. On their way, Lynley tells Havers that five years earlier, his brother-in-law, Edward Davenport, was murdered and that Nies arrested Lynley, although he was released after a few days. Havers finds the story unsettling. When they arrive at Keldale Lodge, their landlord, Stepha Odell, says the village is glad to have outside officers on the case.
Meanwhile, during breakfast at Keldale Hall, an American couple tells Deborah and St. James that three years earlier, a baby was heard crying in the abbey nearby. A priest was summoned and found a “newborn with the cord still attached” (77), dead from exposure. The Americans recommend the St. James’s visit the child’s grave in the village.
Roberta Teys has been placed in Barnstingham Mental Asylum without proper paperwork, and Lynley orders Nies to provide all material related to her case. At the lodge, he and Havers review the thin case file. Stepha Odell tells them the keys to the Teys farmhouse are with Richard Gibson, William’s nephew and heir. When Richard returned to Keldale, he was shocked by Roberta’s weight and blamed William for ignoring her. Stepha doubts Roberta murdered her father; he was the only close family she had.
At Keldale Abbey, Deborah and St. James are waylaid by the American guests, Hank and JoJo Watson, who barrel in with gossip and theories about the case. They point out the vestry recess where the dead newborn was found three years earlier.
The crime scene at the barn confirms Havers’s earlier inference: If the dog died first and the body collapsed over it, staging is unlikely. The report never says what became of the dog, which angers Lynley. Inside the house, the kitchen and dining room are spotless. In the sitting room, a candlelit shrine to Tessa Teys dominates one corner, unsettling Havers. Roberta’s room yields a family photograph cropped to hide another girl who looks like Tessa, an album from which multiple images have been cut out, and, under the mattress, a cache of rotting food.
Back in the village, the Dove and Whistle is loud and warm. The barmaid, Hannah, attracts Lynley’s attention for her punk style. In the quieter lounge, Lynley floats the compulsive-eating hypothesis; Havers pushes back, then abruptly apologizes for snapping at the farm. She says that she was “spooked” (109). Dinner arrives as roast chicken and peas, echoing the victim’s last meal and her own household’s fare, and she rushes out, shaken.
Back at Keldale Lodge, Stepha Odell gives Lynley a packet of case materials just delivered from Richmond. While Lynley sorts the contents, he notes the absence of anything about Whiskers. Stepha says Constable Langston buried the dog. Lynley reconsiders the sequence in the barn given the separate killing of the dog. He shows Stepha a photograph found in Roberta’s room of Roberta with an older girl. Stepha identifies the girl as Gillian Teys, Roberta’s sister, who left Keldale about 11 years earlier. According to Stepha, after Gillian left, William burned her belongings, photographs, and even her birth certificate. She was “dead to William” (120). Stepha says Roberta adored Gillian and must have hidden the photo from William. She mentions that Gillian had been close to Richard before he moved away.
The next morning, Lynley and Havers visit Olivia Odell’s house by the River Kel. Olivia, still grief stricken, says William was a stabilizing presence for her and her daughter, Bridie. She describes an earlier argument at the Dove and Whistle between William and Richard. William criticized the barmaid Hannah’s appearance; Richard retorted about judging by appearances and shifted to Roberta’s weight and William’s parenting. William responded with a crude remark about Richard’s marriage. The confrontation ended without blows. Olivia confirms Richard knew he stood to inherit the farm under William’s will.
Olivia believes that Roberta wanted her to marry William. Tessa Teys had not died but had deserted the family shortly after Roberta’s birth. William had hired a private investigator to locate Tessa so he could pursue an annulment in the church, and before he died, he had just learned that Tessa had been found in York.
Lynley telephones the investigator, Harry Houseman, who provides Tessa’s address in York and reveals that she committed bigamy by marrying again without formally ending her first marriage. Lynley and Havers drive to the York address, a tidy middle-class house. They see Tessa on the terrace looking youthful and composed, far from the destitute runaway they envisioned.
Tessa Teys, now Mowrey, admits she married William at 16, had Gillian, then later Roberta. After Gillian’s birth, William became intensely religious and withdrew from her, saying he needed to “purify his soul” (136). Feeling excluded, she left a few weeks after Roberta’s birth and ran away to York. Six weeks later, she met and married Russell Mowrey without divorcing William. They had two children: Rebecca and William. She says Russell left three weeks ago, after learning about her past. Lynley informs her that William was murdered that same night and Roberta has been charged. Tessa insists Russell would not have killed William and says she never saw Gillian again.
Driving back, Lynley and Havers discuss possible suspects and the “shrine” (143) to Tessa in the Teys home. They go to Barnstingham Mental Asylum, where Dr. Samuels says Roberta is not catatonic but “chooses not to” speak (147). In Roberta’s room, Havers is struck by Lynley’s empathetic approach to talking to Roberta, who only reacts when Lynley mentions finding Gillian. They return to Keldale, where Nigel Parrish is in a “violent quarrel” (151) with another man on the bridge, blocking their car.
On arrival in Keldale, Lynley and Havers are caught in a difficult position. They have two options: to rely on the objective information in the case file and any evidence they can uncover, or to turn to the people of the community for a subjective understanding of the complex social dynamics that inform the murder case. As much as they hope to find a single clue that will clarify the entire situation, they realize that the investigation may turn on the personal agendas and opinions of the people who are willing to speak to them. They soon discover that there are “contradictions everywhere” (80), highlighting The Dangers of Class Bias in Great Britain. The contrasts between rich and poor, rural and urban, lead people to read different motives into Lynley and Havers’ actions. The detectives don’t immediately have the locals’ trust, and this means the testimonies they get aren’t necessarily reliable. The main example of this is Roberta. Her inability to speak means that her actions are defined by others, and the detectives have only the unlikely scenario at the crime scene from which to deduce her involvement.
These chapters highlight the novel’s subplot, which adds insight into both to Lynley’s past and the unfolding murder. While the main plot concerns the murder of William Teys, the narrative occasionally switches to Keldale Hall, where the St. Jameses have their honeymoon. At first, the presence of the American couple serves as a humorous interruption of their romantic vacation. Gradually, however, the role of Hank takes on a new meaning. As an American, his voice and perspective exist beyond the typical boundaries of British society that dictate the actions of so many of the characters. This means Hank can relate the histories, anecdotes, and stories that those around him feel too uncomfortable to discuss. When he talks about the discovery of the dead baby in the ruins of the abbey, for example, Deborah responds by turning pale at the mention of the “dreadful” (77) truth. Hank ploughs on, ignoring her distaste.
The presence of such a “horrible” (77) story shows the extent to which the local community is burdened by the violence and trauma of the past. The stories about the murder of a baby during the English Civil War, the violence of the soldiers in the past, and the recent abandonment and death of an innocent baby suggest that the historical cycles of violence are repeating. The effect of social etiquette and manners is to push discussions of such topics to the side, allowing the cycles to perpetuate and only an outsider like Hank can draw attention to their existence. The community is weighted down with The Corrosive Nature of Guilt, sharing a burden of violence that they struggle to discuss. In the absence of such discussion, violence continues, implicating the present community in the violence of the future throughout their determined ignorance of the violence of the past.
For Havers, however, the guilt and pain of the situation are made clearer by her own similar experiences. Earlier in the novel, she viewed the shrine to her brother which sits in an important place in her parents’ house. There, the shrine to her brother, Tony, is situated to point at the television and involve the deceased in the rhythm of family life. The shrine deliberately intrudes on the normalcy of the household. In the Teys house, Havers sees a shrine to the absent Tessa and instantly understands the emotional and symbolic significance of it dominating the family space. More than the local people’s subjective recollections about the Teys family, this shrine informs Havers about the reality of the case. She understands that it is more than just a tribute to a lost loved one. As with her family’s shrine to Tony, the shrine to Tessa is meant to emotionally manipulate those who see it.



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