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352 pages, Mass Market Paperback
First published January 1, 2005
'On the face of it, he seems a respectable sort of bloke …'
‘But yet,’ said Wexford, quoting from his favourite play. “I do not like 'but yet'.” What’s wrong with him, Mike?’ - Wexford's favourite play is apparently Shakespeare's Antony and Cleopatra (2002) as he quotes from Act 2 Scene 5.
'I once learnt by heart something Bertrand Russell said. Let’s see if I can remember it. “The fact that an opinion has been widely held is no evidence whatever that it isn’t utterly absurd. Indeed, in view of the silliness of the majority of mankind, a widespread belief is more likely to be foolish than sensible.”'
‘It’s a funny thing’, said Wexford when they had sat down at a table in the window, ‘that everyone but the Danes call these things Danish pastries.’ ‘What do they call them, then?’ ‘Viennese bread.’
'He’s not your third murderer – sounds like something out of Macbeth, doesn’t it?' Their blank polite faces showed him that they had no idea whether it sounded like something out of Macbeth or not. It was no use lamenting the loss of poetry from the nation’s mindset. It was gone, never, he supposed, to return.
Ruth Rendell's quality work is both a blessing and a curse. With over 20 Wexford novels__and an even greater number outside the series and under her pseudonym Barbara Vine__reviewers have had ample opportunity to relish her characterizations and get wise to her narrative proclivities. Here they identify a case of the strengths of Rendell's writing (characterization and the use of metaphor) playing second fiddle to the contrivances of a thriller. Plot twists abound for those into neck-snapping plots, but most critics agree that Rendell is at her best when she foregoes narrative theatrics and focuses on the metaphoric parallels between plot and theme. End in Tears is not bad, but isn't great either__and for a writer of Rendell's status, just good doesn't seem to be good enough.
This is an excerpt from a review published in Bookmarks magazine.