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Summary
Summary
It begins, dramatically enough, with a trial for murder. The distinguished criminal lawyer Venetia Aldridge is defending Garry Ashe on charges of having brutally killed his aunt. For Aldridge the trial is mainly a test of her courtroom skills, one more opportunity to succeed--and she does. But now murder is in the air. The next victim will be Aldridge herself, stabbed to death at her desk in her Chambers in the Middle Temple, a bloodstained wig on her head. Enter Commander Adam Dalgliesh and his team, whose struggle to investigate and understand the shocking events cannot halt the spiral into more horrors, more murders... A Certain Justice is P.D. James at her strongest. In her first foray into the strange closed world of the Law Courts and the London legal community, she has created a fascinating tale of interwoven passion and terror. As each character leaps into unforgettable life, as each scene draws us forward into new complexities of plot, she proves yet again that no other writer can match her skill in combining the excitement of the classic detective story with the richness of a fine novel. In its subtle portrayal of morality and human behavior, A Certain Justice will stand alongside Devices and Desires and A Taste for Death as one of P.D. James's most important, accomplished and entertaining works.
Author Notes
P. D. James, pseudonym of Phyllis Dorothy James White, was born on August 3, 1920 in Oxford, England. During World War II, she served as a Red Cross nurse. She worked in administration for 19 years with the National Health Service. After the death of her husband in 1964, she took a Civil Service examination and became an administrator in the forensic science and criminal law divisions of the Department of Home Affairs. She spent 30 years in British Civil Service. She became Baroness James of Holland Park in 1991.
Her first novel, Cover Her Face, was published in 1962. She wrote approximately 20 books during her lifetime including the Adam Dalgliesh Mystery series, the Cordelia Gray Mystery series, and Death Comes to Pemberley. She became a full-time writer in 1979. Three titles in the Adam Dalgliesh Mystery series received the Silver Dagger award--Shroud for a Nightingale, The Black Tower, and A Taste for Death. In 2000, she published her autobiography, Time to Be in Earnest. Her dystopian novel, The Children of Men, was adapted into a movie in 2006. She received the Diamond Dagger award for lifetime achievement. She died on November 27, 2014 at the age of 94.
(Bowker Author Biography)
Reviews (5)
School Library Journal Review
YAVenetia Aldridge, a brilliant barrister, has "four weeks, four hours and fifty minutes left of life." By the time her murder is discovered, readers have not only met most of the suspects, but have also begun to sympathize with whomever might have done her in. Everyone in the victim's life, from her 18-year-old daughter to the retiring head of chambers, from her former lover to the cleaning woman, has cause to have wished her ill. Adam Dalgleish, James's poetry penning sleuth, and his assistants, especially Kate Miskin, investigate the many possible suspects. After much examination of the past and present, the murderer is discovered and A Certain Justice is meted out. As with many of the author's mysteries, psychology and motivation are as important as whodunit and the conundrum presented here is thought-provoking. Much of the action centers around the rebellious daughter and there is a suspense-filled scene in which she and her psychopathic boyfriend try to evade Dalgleish, only to have young Octavia discover that she needs to evade the boyfriend instead. YAs who enjoy James and those ready for a bit of a fright with their English mysteries will surely take to this adventure.Susan H. Woodcock, Kings Park Library, Burke, VA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Publisher's Weekly Review
Crafting a classic locked-room mystery in her latest Adam Dalgliesh novel, James leads readers on a page-turning journey behind the scenes of the English legal system and along the darker, twisted byways of human intentions. Although neither Dalgliesh, Commander at New Scotland Yard, nor Detective Inspector Kate Miskin provides the most powerful presence here, readers won't mind: victims and suspects comprise an indelible cast. Introduced first is ambitious criminal lawyer Venetia Aldridge as she successfully defends a chillingly unfeeling young man named Ashe against charges that he murdered his slatternly aunt, with whom he lived after stints in a series of foster homes and institutions. Venetia is found dead in her locked office, wearing a blood-soaked barrister's wig, shortly after her 18-year-old daughter, Octavia, announced that she was in love with Ashe and planned to marry him. While questioning the lawyers and staff who shared the victim's chambers at Pawlet Court, Dalgliesh, Kate and her new partner, Piers Tarrant, probe the dead woman's past and personal history. James (Original Sin, 1995) briskly introduces a varied array of suspects and motives, drawing the reader deeper into their lives and gradually revealing a network of intersections. Another murder precedes the disappearance of Octavia and Ashe, which leads to a riveting, credible resolution. Themes of obsession, neglect, revenge and ambition fuel this emotionally powerful puzzler, which may remind readers of the author's stand-alone novel Innocent Blood (1980) and is immensely satisfying in both its intricate plot and complexity of characters. 250,000 first printing; BOMC selection; author tour; simultaneous Random House audio and large print edition. (Dec.) (c) Copyright PWxyz, LLC. All rights reserved
Kirkus Review
Four weeks after she's defended Garry Ashe on a charge of murdering his disreputable aunt--in a bravura sequence that provides the most electric opening of any of James's novels--his barrister, brilliant, aloof Venetia Aldridge, is found stabbed to death in her chambers with a paper-knife, a barrister's wig on her head and her corpse soaked in fresh blood. Commander Adam Dalgliesh and his squad naturally suspect Ashe, a plausible sociopath who's improved sufficiently on his acquaintance with Venetia to engage himself to her sadly neglected daughter Octavia Cummins. But Ashe provides an alibi, and Dalgliesh turns to other members of chambers: the retiring head; Venetia's rival to succeed him; the colleague whose jury tampering three years ago Venetia had just discovered; and the doting uncle of that colleague's wife. Under Dalgliesh's patient, tough-minded examination, the junior candidates for tenancy in chambers reveal their own fierce rivalries and fiercely divided motives; so do the clerks, members of the support staff, their families, their ex-spouses, their housemates, until finally a pattern of unspeakable hurt and diabolical revenge begins to emerge. In James's severely Darwinian view of the species, everyone is programmed with memories of traumatic past sufferings, and everyone does whatever it takes to survive. It's left to Dalgliesh and Inspectors Kate Miskin and Piers Tarrant to succor the survivors and count the heavy costs. Even more perfectly than the publishing house in Original Sin (1995), Venetia's law chambers provide James with the ideal arena for her boundlessly compassionate probing of human frailty and for the shivery hope of goodness. Copyright ©Kirkus Reviews, used with permission.
Booklist Review
Like the majority of P. D. James' novels, this one follows not only the conventions of the classical detective story but also her own personal formula: place a murder within the confined workplace of a group of professionals and then investigate the profession as you investigate the crime. Invariably, there is a country-house flavor to all of this, with a limited number of suspects to be interrogated by the grand master, Scotland Yard Commander Adam Dalgliesh. In her last work, Original Sin (1995), James went inside a publishing house to find a killer among the editors; this time, the bloodstains smear a law firm. When leading criminal lawyer Venetia Aldridge is found stabbed to death in her office, with a bloody barrister's wig placed on her head, it's clear that someone had a serious grudge. James' devoted fans--growing exponentially ever since Dalgliesh became a television star on PBS' Mystery will find here all the texture and complexity they've come to expect. Although the focus is on the barristers, the novel explores all levels of London society, and the portrait of one of Aldridge's former clients--a murderer now dating Aldridge's daughter--provides a John Harvey^-like vision of the British underclass. But, finally, it is the fascinating look at the English court system that wins the day here. Nicely juxtaposing the tradition-drenched world of the Royal Courts, awash equally in ideals and egos, against Dalgliesh's inability to prove a case against someone he knows is guilty, James adds a devilish twist to the ending of the classical mystery: the price of maintaining order sometimes attenuates justice. --Bill Ott
Library Journal Review
Superbly narrated by Michael Jayston, who is able to portray the different characters through slight accent changes or inflections, this latest James novel is set in the historical heart of the British criminal justice system. It involves well-defined and intense personalities and a huge knowledge of the British justice system. From the bizarre murder of a distinguished criminal trial lawyer in the Middle Temple to the far reaches of the reed beds of the English Channel, the crime scene expands and the action intensifies. This production is an excellent example of effective programming and packaging. Certain to be a hit with James fans. Highly recommended.Theresa Connors, Arkansas Tech Univ., Russellville (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Table of Contents
| Murderers do not usually give their victims notice. This is one death which, however terrible that last second of appalled realization, comes mercifully unburdened with anticipatory terror. When, on the afternoon of Wednesday, 11 September, Venetia Aldridge stood up to cross-examine the prosecution's chief witness in the case of Regina v. Ashe, she had four weeks, four hours and fifty minutes left of life. After her death the many who had admired her and the few who had liked her, searching for a more personal response than the stock adjectives of horror and outrage, found themselves muttering that it would have pleased Venetia that her last case of murder had been tried at the Bailey, scene of her greatest triumphs, and in her favourite court. |
| But there was truth in the inanity. |
| Court Number One had laid its spell on her since she had first entered it as a pupil. She had always tried to discipline that part of her mind which she suspected could be seduced by tradition or history, yet she responded to this elegant wood-panelled theatre with an aesthetic satisfaction and a lifting of the spirit which was one of the keenest pleasures of her professional life. There was a rightness about the size and proportions, an appropriate dignity in the richly carved coat of arms above the dais, and the glittering seventeenth-century Sword of Justice suspended beneath it, an intriguing contrast between the witness box, canopied like a miniature pulpit, and the wide dock, in which the accused sat level-eyed with the judge. Like all places perfectly designed for their purpose with nothing wanting, nothing superfluous, it induced a sense of timeless calm, even the illusion that the passions of men were susceptible to order and control. Once from curiosity she had gone into the public gallery and had sat for a minute looking down at the empty court and it had seemed to her that only here, where the spectators sat close-packed, was the air knotted with decades of human terror, hope and despair. And now she was once more in the place where she belonged. She hadn't expected the case to be heard in the Old Bailey's most famous court or to be judged by a High Court Judge, but a previous trial had collapsed and the judge's sittings and court allocation had been reorganized. It was a happy omen. She had lost in Court One, but the memories of defeats there were not bitter. More often she had won. |
| Today, as always in court, she reserved her gaze for the judge, the jury, the witnesses. She seldom conferred with her junior, spoke to Ashe's solicitor seated in front of her or kept the court waiting even momentarily while she searched in her papers for a note. No defending counsel went into court better prepared. And she rarely glanced at her client, and then, when possible, without too obviously turning her head towards the dock. But his silent presence dominated her mind as she knew it did the court. Garry Ashe, aged twenty-one years and three months, accused of murdering his aunt, Mrs. Rita O'Keefe, by cutting her throat. One clean single slash, severing the vessels. And then the repeated frenzied stabs at the half-naked body. Often, particularly with a murder of great brutality, the accused seemed almost pathetically inadequate in his ordinariness, his air of hapless incompetence at variance with the violent dedication of the deed. But there was nothing ordinary about this accused. It seemed to Venetia that, without turning, she could remember every detail of his face. |
| He was dark, the eyes sombre under straight thick brows, the nose sharp and narrow, the mouth wide but thin-lipped, unyielding. The neck was long and very slender, giving the head the hieratic appearance of a bird of prey. He never fidgeted, indeed seldom moved, sitting very upright in the centre of the dock, flanked by the attendant officers. He seldom glanced at the jury in their box to his left. Only once, during the prosecution counsel's opening speech, had she seen him look up at the public gallery, his gaze ranging along the rows with a slight frown of disgust, as if deploring the quality of the audience he had attracted, before turning his eyes again to rest them on the judge. But there was nothing tautly anxious about his stillness. Instead he gave the impression of a man accustomed to public exposure, a young princeling at a public entertainment, to be endured rather than enjoyed, attended by his lords. It was the jury, the usual miscellany of men and women assembled to judge him, who looked to Venetia like an oddly assorted group of miscreants herded into the box for sentence. Four of them, in open-necked shirts and jumpers, looked as if they were about to wash the car. In contrast, the accused was carefully dressed in a navy-blue striped suit with a shirt so dazzling that it looked like an advertisement for a washing powder. The suit was well pressed but poorly cut, the over-padded shoulders giving the vigorous young body some of the gangling tenuity of adolescence. It was a good choice, the suit hinting at a mixture of self-respect and vulnerability which she was hoping to exploit. |
| She had a respect, but no liking, for Rufus Matthews, who was prosecuting. The days of flamboyant eloquence in court were over and had in any case never been appropriate to the prosecution, but Rufus liked to win. He would make her fight for every point gained. Opening the prosecution case, he had recounted the facts with a brevity and an unemphatic clarity which left the impression that no eloquence was necessary to support a case so self-evidently true. |
| Garry Ashe had lived with his maternal aunt, Mrs. Rita O'Keefe, at 397 Westway for a year and eight months before her death. His childhood had been spent in care, during which he had been placed with eight foster parents between periods in children's homes. He had lived in two London squats and had worked for a time in a bar in Ibiza before moving in with his aunt. The relationship between aunt and nephew could hardly be called normal. Mrs. O'Keefe was in the habit of entertaining a variety of men friends, and Garry was either compelled, or consented, to photograph his aunt and these various men engaged in the sexual act. Photographs which the accused had admitted taking would be shown in evidence. |
| On the night of the murder, Friday, 12 January, Mrs. O'Keefe and Garry were seen together from six o'clock to nine in the Duke of Clarence public house in Cosgrove Gardens, about one and a half miles from Westway. There was a quarrel and Garry left shortly after nine, saying that he was going home. His aunt, who was drinking heavily, stayed on. At about ten-thirty the licensee refused to serve her any more and she was helped into a taxi by two of her friends. At that time she was drunk but by no means incapable. Her friends judged that she was able to get home on her own. The cab-driver deposited her at Number 397 and watched her enter through the side gate at about ten-forty-five. |
| At ten minutes past midnight a call was made to the police by Garry Ashe from his aunt's house to say that he had returned from a walk to discover her body. When the police arrived at twelve-twenty they found Mrs. O'Keefe lying on a single divan in the front sitting-room, practically naked. Her throat had been cut and she had been slashed with a knife after death, a total of nine wounds. It was the opinion of the forensic pathologist who saw the body at twelve-forty that Mrs. O'Keefe had died very shortly after her return home. There was no evidence of a break-in, and nothing to suggest that she had been entertaining or expecting a visitor that night. |
| A smear of blood, later identified as Mrs. O'Keefe's, had been found on the headpiece of the shower above the bath in the bathroom, and two spots of her blood on the stair carpet. A large kitchen knife had been discovered under the privet hedge of a front garden less than a hundred yards from 397 Westway. The knife, which had a distinctive triangular chip in the handle, had been identified both by the accused and by the cleaning woman as having come from the drawer in Mrs. O'Keefe's kitchen. It had been cleaned of all fingerprints. |
| The defendant had told the police that he had not gone straight home from the public house, but had walked the streets behind Westway and down as far as Shepherd's Bush before returning after midnight to discover his aunt's body. The court would, however, hear evidence from the neighbour living next door that she had seen Garry Ashe leaving 397 Westway at eleven-fifteen on the night of the murder. It was the case for the Crown that Garry Ashe had, in fact, gone straight home from the Duke of Clarence public house, that he had waited for his aunt to return and that he had killed her with the kitchen knife, probably himself in a state of nakedness. He had then taken a shower, dressed and left the house at eleven-fifteen to walk the streets in an attempt to establish an alibi. |
| Rufus Matthews's final words were almost perfunctory. If the jury were satisfied on the evidence put before them that Garry Ashe had murdered his aunt, it would be their duty to return a verdict of guilty. If, however, at the end of the case they were left with a reasonable doubt of his guilt, then the accused was entitled to be acquitted of the murder of Mrs. Rita O'Keefe. |
| From the Trade Paperback edition. |