For the Sake of Elena (Inspector Lynley Series #5)

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Elena Weaver was a surprise to anyone meeting her for the first time. In her clingy dresses and dangling earrings she exuded a sexuality at odds with the innocence projected by the unicorn posters on her walls. While her embittered mother fretted about her welfare from her home in London, in Cambridge—where Elena was a student at St. Stephen's College—her father and his second wife each had their own very different image of the girl. As for Elena, she lived a life of casual and intense physical and emotional ...
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For the Sake of Elena (Inspector Lynley Series #5)

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Elena Weaver was a surprise to anyone meeting her for the first time. In her clingy dresses and dangling earrings she exuded a sexuality at odds with the innocence projected by the unicorn posters on her walls. While her embittered mother fretted about her welfare from her home in London, in Cambridge—where Elena was a student at St. Stephen's College—her father and his second wife each had their own very different image of the girl. As for Elena, she lived a life of casual and intense physical and emotional relationships, with scores to settle and goals to achieve—until someone, lying in wait along the route she ran every morning, bludgeoned her to death.

Unwilling to turn the killing over to the local police, the university calls in New Scotland Yard. Thus, Detective Inspector Thomas Lynley and his partner, Detective Sergeant Barbara Havers, enter the rarefied world of Cambridge University, where academic gowns often hide murderous intentions.

For both officers, the true identity of Elena Weaver proves elusive. Each relationship the girl left behind casts new light both on Elena and on those people who appeared to know her best—from an unsavory Swedish-born Shakespearean professor to the brooding head of the Deaf Students Union.

What's more, Elena's father, a Cambridge professor under consideration for a prestigious post, is a man with his own dark secrets. While his past sins make him neurotically dedicated to Elena and blind to her blacker side, present demons drive him toward betrayal.
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Editorial Reviews

Kirkus Reviews

The fifth outing for Scotland Yard's Inspector Lynley (rich, sleek aristocrat) and Sergeant Havers (rough-edged, bitter plain- Jane)—this time called up to Cambridge to investigate the brutal murder of a sexy, unstable, deaf student. Who ambushed Elena Weaver during one of her usual early- morning runs and pummeled her to death? Suspects abound—especially once an autopsy reveals that Elena was pregnant. She had accused one teacher of sexual harassment, had been having an affair with another (married) one. She'd also been involved with a deaf-rights activist. Meanwhile, she was having stormy times with her overprotective father, a Cambridge don hoping for a major new appointment, and with her edgy stepmother. And is it just coincidence that the woman who finds Elena's body, an important local artist, was the sometime mistress of Elena's father? As usual, George lays on the psychosexual Sturm und Drang with a sure, if slightly heavy, hand; the dialogue occasionally thickens into awkward, stagy speeches. Also as usual, the sleuths contend with personal anguish: Havers must deal with a senile mum; Lynley continues his tediously drawn-out courtship of Lady Helen—an overwrought imitation of Lord Peter and Miss Vane. But, though uneven and puffy, this is George's best work since her debut (A Great Deliverance)—a generally absorbing job in the P.D. James manner, without the excesses and missteps of the other Lynley/Havers outings.

From the Publisher
"George is a outstanding practitioner of the modern English mystery."—Chicago Tribune

"George goes to the head of her genre, with class."—People

"Ms. George proves that the classiest crime writers are true novelists."—The New York Times

"George's best work since her debut."—Kirkus Reviews

"If you're already a fan, just know that Elizabeth George is getting better and better. Carve out some time one weekend soon, stake out a cozy chair and wallow in her best yet."—Denver Post

"Powerful and deeply affecting, For the Sake of Elena is another satisfying addition to this superb series."—The Sun, Baltimore

"For the Sake of Elena is a rich, rewarding book and a top-notch mystery. It may be Elizabeth George's best yet....find it and buy it. You will want to read it again."—Mystery News

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Product Details

  • ISBN-13: 9780553561272
  • Publisher: Random House Publishing Group
  • Publication date: 4/28/1993
  • Series: Inspector Lynley Series, #5
  • Format: Mass Market Paperback
  • Edition description: Reprint
  • Pages: 464
  • Product dimensions: 4.14 (w) x 6.86 (h) x 1.19 (d)

Meet the Author

Elizabeth George

Elizabeth George’s first novel, A Great Deliverance, was honored with the Anthony and Agatha Best First Novel Awards and received the Grand Prix de Littérature Policière. Her third novel, Well-Schooled in Murder, was awarded the prestigious German prize for suspense fiction, the MIMI. A Suitable Vengeance, For the Sake of Elena, Missing Joseph, Playing for the Ashes, In the Presence of the Enemy, Deception on His Mind, In Pursuit of the Proper Sinner, A Traitor to Memory, and I, Richard were international bestsellers. Elizabeth George divides her time between Huntington Beach, California, and London. Her novels are currently being dramatized by the BBC.


Elizabeth George was happy that her first novel was rejected.

Scratch that. She's happy now. At the time, it wasn't her best day. But the notes from her editor helped her realize that she had written the wrong book and chosen the wrong leading man. She threw out her Agatha-Christie/drawing-room-whodunit model in favor of a more modern police procedural set in the world of Scotland Yard. She promoted a minor character to her leading man, the handsome, aristocratic, Bentley-driving Thomas Lynley. And she invented a partner for him, the blue-collar, foul-mouthed, messy Barbara Havers.

"I was very lucky when the first one was rejected, because the editor explained to me why," George told the Los Angeles Times in 1999. "I had written a very Agatha Christie-esque book and she said that wasn't the way it was done. The modern crime novel doesn't have the detective call everyone into the library. It must deal with more topical crimes and the motives must be more psychological because the things you kill for are different now. Things like getting rid of a spouse who won't divorce you, or hiding an illegitimate child, or blackmail over a family scandal -- those are no longer realistic motivations."

And so, in A Great Deliverance, her first published novel, she opens with the decapitated body of a farmer, his blood-splattered daughter holding an ax, the horrified clergyman who happens on to the crime scene, and a rat feasting on the remains. Nope, not in Agatha Christie territory anymore.

George began writing as child when her mother gave her an old 1939 typewriter. When she graduated from high school, she graduated to an electric typewriter. But not until she graduated to a home computer (purchased by her husband in the 1983), did she actually try her hand at a novel. At the time, she was a schoolteacher and had been since 1974. But with the computer in front of her, she has said, it was put-up-or-shut-up time. She finished her first manuscript in 1983. But her first book wasn't published for five more years.

Though the Lynley/Havers novels are set in England -- as are the tales in her first book of short stories, 2002's I, Richard -- George is a Yank, born in Ohio and raised in Southern California. Maintaining a flat in London's South Kensington as a home base for research, George has been an Anglophile since a trip as a teenager to the United Kingdom, where she ultimately found that a British setting better served the fiction that she wanted to write. "The English tradition offers the great tapestry novel," she told Publishers Weekly in 1996, "where you have the emotional aspect of a detective's personal life, the circumstances of the crime and, most important, the atmosphere of the English countryside that functions as another character."

Readers have made her books standard features on the bestseller lists, and critics have noted the psychologically deft motives of her characters and her detailed, well-researched plotting. "A behemoth, staggering in depth and breadth, A Traitor to Memory leaves you simultaneously satisfied and longing for more. It's simply a supreme pleasure to spend time engrossed in this intense, well-written novel," the Miami Herald said in 2001. The Washington Post called 1990's Well-Schooled in Murder " a bewitching book, exasperatingly clever, and with a complex plot that must be peeled layer by layer like an onion." The Los Angeles Times once called her "the California author who does Britain as well as P.D. James." And in 1996, Entertainment Weekly placed George's eighth novel, In the Presence of the Enemy in their fiction top ten list of the year, where she kept company with John Updike, Frank McCourt, Stephen King, and Jon Krakauer.

In her mind, each book begins with the killer, the victim and the motive. She travels to London and stays at her flat there to research locales. And she writes long profiles about what drives her characters psychologically. The kick for the reader isn't necessarily whodunit but why they dun it.

"I don't mind if they know who the killer is," she has said. "I'm happy to surprise them with the psychology behind the crime. I'm interested in the dark side of man. I'm interested in taboos, and murder is the greatest taboo. Characters are fascinating in their extremity not in their happiness."

Good To Know

The original model for Lynley was Nigel Havers, the nobleman and hurdle-jumper in the film Chariots of Fire whose butler placed champagne flutes on the hurdles to keep him from knocking them over. She named Barbara Havers as an homage to the actor.

On page 900 of the rough draft for Deception on His Mind, George changed her mind about the identity of the killer.

George's ex-husband is her business manager.

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    1. Hometown:
      Seattle, Washington
    1. Date of Birth:
      February 26, 1949
    2. Place of Birth:
      Warren, Ohio
    1. Education:
      A.A. Foothill Community College, 1969; B.A. University of California, Riverside, 1970; M.S. California State University
    2. Website:

Read an Excerpt

For the Sake of Elena
By Elizabeth George
Bantam Copyright © 2008 Elizabeth George
All right reserved.

ISBN: 9780553385472


Elena Weaver awakened when the second light went on in her bed-sitting room. The first light, twelve feet away on her desk, managed only to rouse her moderately. The second light, however, positioned to shine directly in her face from an angle-lamp on the bedside table, acted as efficiently as a blast of music or a jangling alarm. When it broke into her dream–an unwelcome interloper, considering the subject matter her subconscious had been pursuing–she bolted upright in bed.

She hadn't started out the previous night in this bed or even in this room, so for a moment she blinked, perplexed, wondering when the plain red curtains had been changed for that hideous print of yellow chrysanthemums and green leaves lounging on a field of what appeared to be bracken. They were drawn across a window which was itself in the wrong place. As was the desk. In fact, there shouldn't have been a desk in here at all. Nor should it have been strewn with papers, notebooks, several open volumes, and a large word processor.

This last item, as well as the telephone beside it, brought everything sharply into focus. She was in her own room, alone. She'd come in just before two, torn off her clothes, dropped exhausted into bed, and managed about four hours' sleep. Four hours . . . Elena groaned. No wonder she'd thought she was elsewhere.

Rolling out of bed, she thrust her feet into fuzzy slippers and quickly drew on the greenwoollen bathrobe that lay in a heap next to her jeans on the floor. The material was old, worn down to a feathery softness. Her father had presented her with a fine silk dressing gown upon her matriculation into Cambridge a year ago–indeed, he had presented her with an entire wardrobe which she had mostly discarded–but she had left it at his house on one of her frequent weekend visits, and while she wore it in his presence to appease the anxiety with which he seemed to watch her every move, she never wore it at any other time. Certainly not at home in London with her mother, and never here in college. The old green one was better. It felt like velvet against her bare skin.

She padded across the room to her desk and pulled open the curtains. It was still dark outside, and the fog which had lain upon the city like an oppressive miasma for the past five days seemed even thicker this morning, pressing against the casement windows and streaking them with a lacework of moisture. On the wide sill stood a cage with a small bottle of water hanging on its side, an exercise wheel in its centre, and an athletic-sock-turned-nest in its far right-hand corner. Curled into this was a dollop of fur the size of a tablespoon and the colour of sherry.

Elena tapped her fingers against the icy bars of the cage. She brought her face up to it, caught the mixed smells of shredded newspaper, cedar shavings, and pungent mouse droppings, and blew her breath softly in the direction of the nest.

"Muh-owz," she said. Again, she tapped against the bars of the cage. "Muh-owz."

Within the small mound of fur, a bright brown eye opened. The mouse lifted his head. His nose tested the air.

"Tibbit." Elena smiled in delight as his whiskers twitched. "Mornun, muh-owz."

The mouse scampered from his nest and came to inspect her fingers, clearly expecting a morning treat. Elena opened the cage door and picked him up, scarcely three inches of lively curiosity in the palm of her hand. She perched him on her shoulder, where he immediately began an investigation into the possibilities presented by her hair. This was quite long and quite straight, its colour identical to the mouse's fur. These facts seemed to offer the promise of camouflage, for he snuggled happily between the collar of Elena's robe and her neck, where he anchored himself onto the material and began to wash his face.

Elena did the same, opening the cupboard that housed the basin and switching on the light above it. She went on to brush her teeth, to bind her hair back with a bit of ribboned elastic, and to rustle through her clothes cupboard for her tracksuit and a jersey. She pulled on the trousers and went next door to the gyp room.

She flipped on the light and examined the shelf above the stainless steel sink. Cocoa Puffs, Wheetabix, Corn Flakes. The sight of all of them made her stomach roll uneasily, so she opened the refrigerator, pulled out a carton of orange juice, and drank directly from it. Her mouse put an end to his morning ablutions and scuttled back onto her shoulder in anticipation. As she continued to drink, Elena rubbed her index finger on the top of his head. His tiny teeth gnawed at the edge of her fingernail. Enough of affection. He was getting impatient.

"Awright," Elena said. She rooted through the refrigerator–grimacing at the rank smell of milk gone bad–and found the jar of peanut butter. A fingertip of this was the mouse's daily treat, and he set upon it happily when she presented it to him. He was still working the residue out of his fur when Elena returned to her room and placed him on her desk. She threw off her robe, pulled on a jersey, and began to stretch.

She knew the importance of warming up before her daily run. Her father had drummed it into her head with monotonous regularity ever since she had joined the University's Hare and Hounds Club in her first term. Still, she found it horrifically boring, and the only way she managed to complete the series of stretches was to combine them with something else, such as fantasizing, making toast, gazing out the window, or reading a bit of literature she'd been avoiding for ages. This morning she combined the exercising with toast and window gazing. While the bread was browning in the toaster on her bookshelf, she worked on loosening leg and thigh muscles, her eyes on the window. Outside, the fog was creating a billowing whirlpool round the lamppost in the centre of North Court, holding out the guarantee of an unpleasant run.

Out of the corner of her eye, Elena saw the mouse scooting back and forth across the top of her desk, pausing to raise himself on hind legs and sniff the air. He was nobody's fool. Several million years of olfactory evolution told him that more food was in the offing, and he wanted his share.

She glanced at the bookshelf to see the toast had popped up. She broke off a piece for the mouse and tossed it in his cage. He scrambled immediately in that direction, his tiny ears catching the light like diaphanous wax.

"Hey," she said, catching the little animal in his progress across two volumes of poetry and three Shakespearean criticisms. "Say, g'bye, Tibbit." Fondly, she rubbed her cheek against his fur before replacing him in the cage. The piece of toast was nearly his size, but he managed to drag it industriously towards his nest. Elena smiled, tapped her fingers on the cage top, grabbed the rest of the toast, and left the room.

As the corridor's glass firedoor whooshed closed behind her, she put on the jacket of her tracksuit and pulled up its hood. She ran down her first flight of L staircase and swung round the landing by grasping the wrought iron banister and landing lightly in a crouch, taking the pressure of her weight in her legs and ankles, rather than in her knees. She took the second flight at a quicker pace, dashed across the entry, and flung open the door. The cold air hit her like water. Her muscles stiffened in reaction. She forced them to relax, running in place for a moment as she shook her arms. She breathed in deeply. The air–with the fog taking its origin in the river and the fens–tasted of humus and woodsmoke, and it covered her skin quickly with a watery down.

She jogged across the sound end of New Court, sprinting through the two passageways to Principal Court. No one was about. No lights were on in rooms. It was wonderful, exhilarating. She felt inordinately free.

And she had less than fifteen minutes to live.

Five days of fog dripped off buildings and trees, made wet lattice on windows, created pools on the pavement. Outside St. Stephen's College, a lorry's hazard lights flashed in the mist, two small orange beacons like blinking cat's eyes. In Senate House Passage, Victorian lampposts reached long fingers of yellow light through the fog, and the Gothic spires of King's College first rose against then disappeared altogether into a backdrop of gloom the colour of grey doves. Beyond that, the sky still wore the guise of a mid-November night. Full dawn was yet an hour away.

Elena pounded from Senate House Passage into King's Parade. The pressure of her feet against the pavement sent an answering quiver up the muscles and bones of her legs and into her stomach. She pressed her palms against her hips, just where his had been last night. But unlike last night, her breathing was steady, not rapid and urgent and centred single-mindedly on that frantic rise to pleasure. Still, she could almost see his head thrown back. She could almost see him concentrating on the heat, the friction, and the slick profusion of her body's desire. She could almost see his mouth form the words oh God oh God oh God oh God as his hips thrust up and his hands pulled her down harder and harder against him. And then her name on his lips and the wild beating of his heart against his chest. And his breathing, like a runner.

She liked to think of it. She'd even been dreaming of it when the light went on in her room this morning.

She powered along King's Parade towards Trumpington, weaving in and out of the patchy light. Somewhere not far away, a breakfast was cooking, for the air held the faint scent of bacon and coffee. Her throat began to close uneasily in response, and she increased her speed to escape the odour, splashing through a puddle that sent icy water seeping through her left sock.

At Mill Lane, she made the turn towards the river. The blood was beginning to pound in her veins, and in spite of the cold, she had started to perspire. A line of sweat beneath her breasts was trickling towards her waist.

Perspiration's the sign that your body is working, her father would tell her. Perspiration, naturally. He would never say sweat.

The air seemed fresher as she approached the river, dodging two dust carts that were manned by the first living creature she had seen out on the streets this morning, a workman wearing a lime green anorak. He heaved a haversack onto the pushbar of one of the carts and lifted a thermos as if to toast her as she passed.

At the end of the lane, she darted onto the pedestrian bridge that spanned the River Cam. The bricks beneath her feet were slick. She ran in place for a moment, fumbling with the wrist of her track jacket to get a look at her watch. When she realised she'd left it back in her room, she cursed softly and jogged back across the bridge to have a quick look down Laundress Lane.

Damn, damn, double damn. Where is she? Elena squinted through the fog. She blew out a quick gust of breath in irritation. This wasn't the first time she'd had to wait, and if her father had his way, it wouldn't be the last.

"I won't have you running alone, Elena. Not at that hour of the morning. Not along the river. We won't have any discussion about this. If you'd care to choose another route . ."

But she knew it wouldn't matter. Another route and he'd only come up with another objection. She should never have let him know that she was running in the first place. At the time, it had seemed an innocuous enough piece of information. I've joined Hare and Hounds, Daddy. But he managed to turn it into yet another display of his devotion to her. Just as he did when he got hold of her essays prior to supervisions. He'd read them, brow furrowed, his posture and expression both declaring: Look how concerned I am, see how much I love you, note how I treasure having you back in my life, I'll never leave you again, my darling. And then he'd critique them, guiding her through introductions and conclusions and points to be clarified, bringing her stepmother in for further assistance, sitting back in his leather chair with his eyes shining earnestly. See what a happy family we are? It made her skin crawl.

Her breath steamed the air. She'd waited more than a minute. Still no one emerged from the grey soup of Laundress Lane.

Stuff it, she thought, and ran back to the bridge. On the Mill Pool beyond her, swans and ducks etched out their shapes in the gauzy air while on the southwest bank of the pool itself a willow wept branches into the water. Elena gave one final glance over her shoulder, but no one was running to meet her, so she herself ran on.

Descending the slope of the weir, she misjudged the angle and felt the slight pull of a muscle in her leg. She winced, but kept going. Her time was shot to hell–not that she knew what her time was in the first place–but she might be able to make up a few seconds once she reached the causeway. She picked up her pace.

The pavement narrowed to a strip of tarmac with the river on its left and the wide, mist-shrouded expanse of Sheep's Green to its right. Here, the hulking silhouettes of trees rose out of the fog, and the handrails of footbridges made horizontal slashes of white where the occasional lights from across the river managed to cut through the gloom. As she ran, ducks plopped silently from the bank into the water, and Elena reached into her pocket for the last wedge of morning toast which she crumbled and tossed their way.

Her toes were driving steadily into the front of her running shoes. Her ears were starting to ache in the cold. She tightened the drawstring of her hood beneath her chin, and from her jacket pocket, she took a pair of mittens and pulled them on, blowing into her hands and pressing them against her chilled face.

Ahead, the river separated into two parts–main body and murky stream–as it flowed sluggishly round Robinson Crusoe's Island, a small mass of land thickly overgrown on its south end with trees and brush and its north end given to the repair of the colleges' sculls, canoes, rowboats, and punts. A bonfire had been lit in the area recently, for Elena could smell its remains in the air. Someone had probably camped illegally on the north section of the island during the night, leaving behind a residue of charred wood hastily extinguished by water. It smelled different from a fire that has died a natural death.

Curious, Elena looked through the trees as she dashed along the north end of the island. Canoes and punts piled one on top of another, their wood slick and glistening and dripping with the fog. But no one was there.

The path began the rise towards Fen Causeway, which marked the end of the first leg of her run. As always, she met the gradual acclivity with a fresh burst of energy, breathing steadily but feeling the building pressure in her chest. She was just beginning to adjust to the new speed when she saw them.

Two figures appeared ahead of her on the pavement, one crouched and the other stretched across the width of the path. They were shadowy and largely amorphous, and they seemed to tremble like uncertain holograms, backlit by the wavering, filtered light from the causeway about twenty yards away. Perhaps hearing Elena's approach, the crouched figure turned towards her, lifted a hand. The other didn't move.

Elena squinted through the fog. Her eyes went from one figure to the other. She saw the size. She saw the dimensions.

Townee, she thought, and rushed forward.

The crouched figure stood, backed off at Elena's approach, and seemed to disappear into the heavier mist near the footbridge that joined the path with the island. Elena stumbled to a stop and fell to her knees. She reached out, touched, and found herself frantically examining what amounted to nothing more than an old coat stuffed with rags.

In confusion, she turned, one hand on the ground, pushing herself to her feet. She drew in breath to speak.

As she did so, the heavy air splintered before her. A movement flashed on her left. The first blow fell.

It hit her squarely between the eyes. Lightning shot through her field of vision. Her body flew backwards.

The second blow crashed against her nose and cheek, cutting completely through the flesh and shattering the zygomatic bone like a piece of glass.

If there was a third blow, she did not feel it.

It was just after seven when Sarah Gordon pulled her Escort onto the wide section of pavement right next to the University Department of Engineering. In spite of the fog and the morning traffic, she'd made the drive from her home in less than five minutes, charging over Fen Causeway as if pursued by a legion of ghouls. She set the emergency brake, clambered out into the damp morning, and slammed the door.

She marched to the boot of the car where she began pulling out her equipment: a camp stool, a sketch pad, a wooden case, an easel, two canvases. When these objects lay on the ground at her feet, she stared into the boot, asking herself if she had forgotten anything. She concentrated on details–charcoal, temperas, and pencils in the case–and tried to ignore her increasing nausea and the fact that tremors weakened her legs.

She stood for a moment with her head resting against the grimy open lid of the boot and schooled herself to think only of the painting. It was something she'd contemplated, begun, developed, and completed times beyond counting ever since her childhood, so all the elements should have been old friends. The subject, the location, the light, the composition, the choice of media demanded her full concentration. She made an attempt to give it to them. The world of possibility was opening. This morning represented a sacred renaissance.

Seven weeks ago, she'd marked this day on her calendar, 13 November. She'd written do it across that small, white square of hope, and now she was here to put an end to eight months of paralysed inactivity, utilising the only means she knew to find her way back to the passion with which she'd once greeted her work. If only she could muster up the courage to overcome a minor setback.

She slammed home the boot lid and picked up her equipment. Each object found its natural position in her hands and under her arms. There wasn't even a panic-filled moment of wondering how she'd managed to carry everything in the past. And the very fact that some behaviours did seem to be automatic, like riding a bicycle, buoyed her for an instant. She walked back over Fen Causeway and descended the slope towards Robinson Crusoe's Island, telling herself that the past was dead, telling herself that she'd come here to bury it.

For too long she had stood numbly in front of an easel, incapable of thinking of the healing propensities inherent to the simple act of creating. All these months, she had created nothing except the means of her own destruction, collecting half a dozen prescriptions for pills, cleaning and oiling her old shotgun, preparing her gas oven, making a rope from her scarves and all the time believing that the artistic force within her had died. But all that was ended, as were the seven weeks of growing dread as 13 November approached.

She paused on the little bridge spanning the narrow stream that separated Robinson Crusoe's Island from the rest of Sheep's Green. Although it was daylight, the mist was heavy, and it lay against her field of vision like a bank of clouds. Through it, the rattling song of an adult male wren shot out from one of the trees above her, and the causeway traffic passed with the muted rise and fall of engines. A duck wak-wacked somewhere nearby on the river. A bicycle bell jingled from across the green.

To her left, the boat repair sheds were still closed and shuttered. Ahead of her, ten iron steps climbed up to Crusoe's Bridge and descended to Coe Fen on the east bank of the river. She saw that the bridge itself had been repainted, a fact she had not noticed before. Where once it had been green and orange and patchy with rust, now it was brown and cream, the cream a series of crisscrossing balusters that glistened luminescently through the mist. The bridge itself looked suspended over nothing. And everything round it was altered and hidden by the fog.

In spite of her determination, she sighed. It was impossible. No light, no hope, and no inspiration in this bleak, cold place. Be damned to Whistler's night studies of the Thames. To hell with what Turner could have made from this dawn. No one would ever believe she had come to paint this.

Still, this was the day she had chosen. Events had dictated that she come to this island to draw. Draw she would. She plunged across the rest of the footbridge and pushed open the creaking, wrought iron gate, determined to ignore the chill that seemed to be inching its way through every organ of her body.

Inside the gate, she felt the squish and ooze of mud sucking noisily against her plimsolls, and she shuddered. It was cold. But it was only the cold. And she picked her way into the copse created by alder, crack willow, and beech.

Condensation dripped from the trees. Drops splattered with a sound like slow-bubbling porridge onto the sorrel tarpaulin of autumn leaves. A thick, fallen branch undulated across the ground before her, and just beyond it, a small clearing beneath a poplar offered a view. Sarah made for this. She leaned her easel and canvasses against the tree, snapped open her camp stool, and propped her wooden case next to it. The sketch pad she clutched to her chest.

Paint, draw, paint, sketch. She felt her heart thud. Her fingers seemed brittle. Her very nails ached. She despised her weakness.

She forced her body onto the camp stool to face the river, and she stared at the bridge. She made an assessment of every detail, trying to see each as a line or an angle, a simple problem in composition which needed to be solved. Like a reflex response, her mind began to evaluate what her eyes took in. With their late autumn leaves tipped by beads of moisture that managed to catch and reflect what little light there was, three alder branches acted as a frame for the bridge. They formed diagonal lines that first stretched above the structure then descended in a perfect parallel to the stairs which led down to Coe Fen where through a swirling mass of fog the distant lights from Peterhouse glimmered. A duck and two swans were misty forms on the river which was itself so grey–a duplication of the air above it–that the birds floated as if suspended in space.

Quick strokes, she thought, big bold impressions, use a smudge of charcoal to suggest greater depth. She made her first pass against the sketch pad, then a second, and a third before her fingers slipped, losing their grip on the charcoal which slid across the paper and into her lap.

She stared at the mess she had made of the drawing. She ripped it from the pad and began a second time.

As she drew, she felt her bowels begin to loosen, she felt nausea begin its process of gripping her throat. "Oh please," she whispered, and glanced about, knowing she had not time to get home, knowing also that she couldn't allow herself to be sick here and now. She looked down at her sketch, saw the inadequate, pedestrian lines, and crumpled it up.

She began a third drawing, forcing all her concentration on keeping her right hand steady. Seeking to hold her panic at bay, she tried to duplicate the angle of the alder branches. She tried to copy the crisscrossing of the bridge balusters. She tried to suggest the pattern of the foliage. The charcoal snapped in two.

She pushed herself to her feet. It wasn't supposed to be like this. The creative power was supposed to take over. Time and place were supposed to disappear. The desire itself was supposed to return. But it hadn't. It was gone.

You can, she thought fiercely, you can and you will. Nothing can stop you. No one stands in your way.

She thrust the sketch pad under her arm, grabbed her camp stool, and struck out southward on the island until she came to a small spit of land. It was overgrown with nettles, but it provided a different view of the bridge. This was the spot.

The ground was loamy, matted by leaves. Trees and bushes formed a web of vegetation behind which at a distance the stone bridge of Fen Causeway rose. Sarah snapped open the camp stool here. She dropped it to the ground. She took a step back and lost her footing on what seemed to be a branch that was hidden beneath a pile of leaves. Considering the location, she should have been more than prepared, but the sensation still unnerved her.

"Damn it," she said and kicked the object to one side. The leaves fell from it. Sarah felt her stomach heave. The object wasn't a branch, but a human arm.


Excerpted from For the Sake of Elena by Elizabeth George Copyright © 2008 by Elizabeth George. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
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Customer Reviews

Average Rating 4.5
( 27 )
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See All Sort by: Showing 1 – 20 of 27 Customer Reviews
  • Anonymous

    Posted November 30, 2000

    For the Sake of Elena is Elizabeth George's Very Best Mystery Novel Yet.

    I have enjoyed all of Ms. George's works to-date, however, I found this one topped all others. Having studied at Cambridge University myself, I was delighted to see the magic of Cambridge captured in the book. In addition, the plot and character development kept me riveted (and guessing) right to the end.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted October 10, 2014

    Proluge~ It Begins (final part) (Post)

    The warrior dismounted and kicked a slaver to the ground. Brutally stabing him threw the stomach, his guts spilled out. He then walked over to Rishea and cut her free. "Get your closest person in your life, mount my horse and ride to the encampment just south of here! Hurry!" He shouted then went right back to fighting. Rishea grabed Tarshiz and threw him onto the horse. Quickly mounting him herself she imideitly rode off. Leaving the battle behind them.<p>They arrived at the encampment, and were quickly rederected to the castle in which the king dwelled. So for the next day they rode threw beutiful forrests, and across narrow rivers to get there. Two and a half days later, the soliders who were in the battle arrived. Many wounded, others exsaosted. Rishea noticed the warrior who assisted her and her brother escape. She decided to walk over. When she arrived the warrior stood up. "Did you make it safe?" He asked with a grin on his face. She started to answer, and relized the joke. "My name is Urimno Elendra." The warrior said. "Oh, mine is Rishea." She replyed. "So whats your position in the world?" He asked, "mine is a royal quard." She smiled, "a bit young?" She said concerned. "Not really. After all im mostlikely older than you." He joked. "So, where did u leave my horse?" He asked. "Oh over in the stable." She said pointing it out. "Ok, i hope to see you again soon." He said and walked off.. <p>Indeed they did see eachother again, quite often in my opinion. A decade and 3 years passed, and Urimno decided to retire to farm life. And also to mar<_>ry Rishea. They settle down on a massive farm granted to them by the king himself. They would eventuslly have 7 children, but the 4th child is where our story begins.. End. Chapter 1 will beposted soon in next res. (Post)

    0 out of 2 people found this review helpful.

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  • Anonymous

    Posted June 4, 2013


    Simply great

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  • Posted June 8, 2012

    Highly recommended

    Another mystery up until the end for Tommy and Barbara.

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  • Anonymous

    Posted February 12, 2012

    Very Good!

    Very Good!

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  • Anonymous

    Posted February 11, 2012

    Another Elizabeth George winner!

    Like all Elizabeth George novels, this one is gripping. Especially well written about the academic community in the UK.

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