In the third novel of this bestselling series, London investigator Maisie Dobbs faces grave danger as she returns to the site of her most painful WWI memories to resolve the mystery of a pilot's death.
A deathbed plea from his wife leads Sir Cecil Lawton to seek the aid of Maisie Dobbs, psychologist and investigator. As Maisie soon learns, Agnes Lawton never accepted that her aviator son was killed in the Great War, a torment that led her not only to the edge of madness but to the doors of those who practice the dark arts and commune with the spirit world. In accepting the assignment, Maisie finds her spiritual strength tested, as well as her regard for her mentor, Maurice Blanche. The mission also brings her together once again with her college friend Priscilla Evernden, who served in France and who lost three brothers to the warone of whom, it turns out, had an intriguing connection to the missing Ralph Lawton.
Following on the heels of Jacqueline Winspear's triumphant Birds of a Feather, PARDONABLE LIES is the most compelling installment yet in the chronicles of Maisie Dobbs, "a heroine to cherish" (Marilyn Stasio, The New York Times Book Review).
About the Author
Jacqueline Winspear is the author of the Maisie Dobbs novels, Maisie Dobbs and Birds of a Feather, which won the Agatha Award for Best Novel. A New York Times Notable Book, Maisie Dobbs was nominated for a record eight awards, including the Edgar Allan Poe Award for Best Novel, and won both the Agatha and Macavity Awards for Best First Novel, as well as the Alex Award for an adult novel suitable for young adults. Born in England, Winspear now lives in California.
Date of Birth:April 30, 1955
Place of Birth:Weald of Kent, England
Education:The University of London¿s Institute of Education
Read an Excerpt
A Maisie Dobbs Novel
By Winspear, Jacqueline
Copyright © 2006
All right reserved.
The young policewoman stood in the corner of the room. Plain whitewashed walls, a heavy door, a wooden table with two chairs, and one small window with frosted glass rendered the room soulless. It was a cold afternoon and she'd been in the corner since coming on duty two hours ago, her only company the rumpled and bent girl sitting in the chair that faced the wall. Others had come into the room to sit in the second chair: first, Detective Inspector Richard Stratton, with Detective Sergeant Caldwell standing behind him; then Stratton standing while a doctor from the Maudsley Hospital sat before the girl, trying to get her to speak. The girl--no one knew her age or where she had come from because she hadn't spoken a word since she was brought in this morning, her bloodstained dress, hands and face showing a month's worth of dirt--was now waiting for another person who had been summoned to question her: a Miss Maisie Dobbs. The policewoman had heard of Maisie Dobbs, but with what she had seen today, she wasn't sure that anyone could get this young scrubber to talk.
The policewoman heard voices outside the door: Stratton and Caldwell and then another voice. A smooth voice. A voice that was neither loud nor soft, that did not need to be raised to be heard or, thought the policewoman, toget someone to listen.
The door opened and Stratton came in, followed by a woman she presumed to be Maisie Dobbs. The policewoman was surprised, for the woman was nothing like she had expected, but then she realized that the voice had revealed little about the owner, except that it had depth without being deep.
Wearing a plain burgundy suit with black shoes and carrying a worn black leather document case, the visitor smiled at both the policewoman and Stratton in a way that almost startled the uniformed woman, as her eyes met the midnight-blue eyes of Maisie Dobbs, psychologist and investigator.
"Pleased to meet you, Miss Chalmers," said Maisie, though they had not been introduced. The warm familiarity of the greeting took Chalmers aback. "Brrr. It's cold in here," added the investigator, turning to Stratton. "Inspector, can we bring in an oil stove? Just to take the edge off?"
Stratton raised an eyebrow and inclined his head at the unusual nature of the request. Amused at seeing her superior caught off guard, Chalmers tried to hide a grin, and the seated girl looked up, just for a second, because the woman's voice compelled her to do so.
"Good. Thank you, Inspector. Oh--and perhaps a chair for Miss Chalmers." Maisie Dobbs removed her gloves, placing them on top of the black bag, which she set on the floor, before pulling a chair around so that she was seated not opposite the girl, on the other side of the table, but close to her.
Strange, thought Chalmers, as the door opened and a constable brought in another chair, left the room, and returned with a small paraffin stove, which he placed by the wall. They exchanged quick glances and shrugged shoulders.
"Thank you," said Maisie, smiling.
And they knew she had seen their furtive communication.
Now, sitting alongside the girl, Maisie said nothing. She said nothing for some time, so that after a while Chalmers wondered what in heaven's name she was there for. Then she realized that the Dobbs woman had closed her eyes and had changed her position slowly, and though she couldn't put her finger on it, it was as if she were talking to the girl without opening her mouth, so that the girl--as if she couldn't help herself--leaned toward Maisie Dobbs. Blimey, she's going to talk.
"I'm getting warmer now." It was a rounded voice, a west-country voice. The girl spoke deliberately, with rolled r's and a nod when her sentence was finished. A farm girl. Yes, Chalmers would have pegged her for a farm girl.
But Maisie Dobbs said nothing, just opened her eyes and smiled, but not with her mouth. No, it was her eyes that smiled. Then she touched the girl's hand, taking it in her own. The girl began to cry and, very strange again, thought Chalmers, the Dobbs woman didn't reach out to put an arm around her shoulder, or try to stop her or use the moment as Stratton and Caldwell might have. No, she just sat and nodded, as if she had all the time in the world. Then she surprised the policewoman again.
"Miss Chalmers. Would you be so kind as to poke your head around the door and ask for a bowl of hot water, some soap, two flannels, and a towel, please."
Chalmers gave a single nod and moved toward the door. Oh, this would surely give the girls something to chew over later. They'd all have a giggle about this little pantomime.
A bowl of hot water was brought to the room by the police constable, along with the flannels, soap, and towel. Maisie removed her jacket, placed it over the back of the chair, and rolled up the sleeves of her cream silk blouse. Reaching into the bowl, she rubbed some soap on a wet flannel and squeezed out the excess water. Then she lifted the girl's chin, smiled into her reddened and bloodshot eyes, and began to wash her face, rinsing the flannel and going back again, dabbing the hot cloth on the girl's temples and across her forehead. She washed her arms, holding first her left hand in the hot flannel and working the cloth up to her elbow, then reaching for the girl's right hand. The girl flinched, but Maisie showed no sign of noticing the movement, instead massaging her right hand with the cloth, gently working it along her arm to the elbow, and then rinsing again.
It was as she knelt on the floor, taking one filthy bare foot after the other and washing the dirt and grime away with the second flannel, that the policewoman realized she had become mesmerized by the scene unfolding before her. It's like being in church.
The girl spoke again. "You've got right soft 'ands, miss."
Maisie Dobbs smiled. "Thank you. I used to be a nurse, years ago, in the war. That's what the soldiers used to say: that my hands were soft."
The girl nodded.
"What's your name?"
Chalmers stared as the girl--who had been sitting in that room without so much as a cup of tea since she was brought in twelve hours ago--replied immediately.
"Avril Jarvis, miss."
"Where are you from?"
"Taunton, miss." She began to sob.
Maisie Dobbs reached into the black bag and brought out a clean linen handkerchief, which she placed on the table in front of the girl. Chalmers waited for Maisie to take out a sheet of paper to write notes, but she didn't; instead she simply continued with her questions as she finished drying the girl's feet.
"How old are you, Avril?"
"Fourteen next April, I reckon."
Maisie smiled. "Tell me, why are you in London and not Taunton?"
Avril Jarvis sobbed continuously as Maisie folded the towel and sat next to her again. But she did answer the question, along with every other question put to her over the next hour, at which point Maisie said that was enough for now; she would be taken care of and they would speak again tomorrow--only Detective Inspector Stratton would have to hear her story too. Then, adding fuel to the tale that Chalmers would tell the other policewomen lodging in rooms upstairs at Vine Street, the Jarvis girl nodded and said, "All right, then. Just so long as you'll be with me, miss."
"Yes. I'll be here. Don't worry. You can rest now, Avril."
Copyright 2005 by Jacqueline Winspear. All rights reserved.
Excerpted from Pardonable Lies
by Winspear, Jacqueline
Copyright © 2006 by Winspear, Jacqueline.
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.
Reading Group Guide
1. Three significant figures in Pardonable LiesAvril Jarvis, Pascale Clement, and the younger Maisie Dobbs of the detective's own tormented recollectionsare all about thirteen years old. Why does the novel choose this moment in the three girls' growth and develop-ment as a focal point for observation? Do the three girls have anything in common apart from age?
2. Although a number of mothers, including Agnes Lawton, Irene Nelson, Mrs. Jarvis, and Maisie's own mother, are essentially absent as characters, they exert profound influence over events in the novel. What is the significance of the theme of the absent mother in Pardonable Lies?
3. In quite a few classic detective novels, including The Maltese Falcon and Farewell, My Lovely, homosexual characters experience violent or disrespectful treatment. Does the treatment of homosexuality in Pardonable Lies fundamentally differ from that in older detective fictions? How and why?
4. Compare Maisie's current relationship with Dr. Andrew Dene and the role that her crippled ex-lover Simon continues to play in her life. Which is more important to Maisie, and why?
5. Maisie lied about her age to go to war and now routinely risks her life as a private investi-gator. Nevertheless, Priscilla Evernden observes that Maisie has "kept to the safe places." Is she right? Explain.
6. Many of the characters in Pardonable Lies, including Maurice Blanche, Ralph Lawton, Jeremy Hazleton, and Maisie herself, engage in elaborate deceptions. Is there a deception in the novel that you consider less "pardonable" than the others? Why?
7. Is there a deception in the novel that you consider more "pardonable" than the others? Why?
8. Like Jacqueline Winspear's previous novels, Maisie Dobbs and Birds of a Feather, Pardon-able Lies is haunted by inescapable memories of World War I. In a sense, the war is the great crime from which the legal offenses and ethical transgressions of Winspear's novels are the offshoots. How are the webs of falsehood and deception in this novel a response to the experiences and traumas of war? Do the lies in the novel make the aftermath of the war easier to bear, or do they compound the war's original immorality?
9. Although Jacqueline Winspear frequently focuses on the physical and psychological scars of warfare, Pardonable Lies offers instances of something beautiful or noble that has emerged from the horror. Examples include the birth of Pascale Clement and Ralph Lawton's heroic service in the Flying Corps. How does the novel's introduction of these silver linings enrich or complicate Winspear's depiction of the war and its aftermath?
10. Maisie often uses her training as a psychologist to take decisive control of a situation. Nevertheless, she sometimes experiences social situations in which she feels a lack of control. What are some of these situations, and why does she find them daunting?
11. The daughter of a costermonger, Maisie has risen somewhat above the limitations often encountered by members of her class. However, issues pertaining to class persist in the novel. Compare Jacqueline Winspear's treatment of aristocratic characters like Sir Cecil Lawton and Priscilla Evernden with her rendering of characters like Billy Beale and Lady Rowan's servants.
12. Maisie, who gives such extraordinary courage and support to others, must continually battle an inner sense of her own inadequacy. What are the sources of this feeling, and does she triumph over it?
13. Maisie knows a great deal about comforting others. Consider, however, the persons from whom she derives comfort. Do they have anything in common? To whom does she turn for particular kinds of support, and why?
14. In Chapter 8, Maisie asks herself, "What do I believe in?" Is this question answered in the novel? Does Maisie have beliefs that either strengthen or hinder her in her work or in her life?
15. Jacqueline Winspear offers a number of detailed descriptions of her characters' clothing. Given that Maisie is such a cerebral character, highly focused on the inner workings of the mind and heart, what may be the purpose of such external descriptions in the novel?
16. What role do Maisie's nightmares play in the unfolding of the plot and her character?