Barbara Hambly is the author of Patriot Hearts and The Emancipator’s Wife, a finalist for the Michael Shaara Award for Excellence in Civil War Fiction. She is also the author of Fever Season, a New York Times Notable Book of the Year, and the acclaimed historical Benjamin January series, including the novels A Free Man of Color and Sold Down the River. She lives in California.
“A smashing debut. Rich and exciting with both substance and
spice.”—Star Tribune, Minneapolis
“A sparkling gem.”—King Features Syndicate
“An astonishing tour de force.”—Margaret Maron
“Superb.”—Drood Review of Mystery
“A darned good murder mystery.”—USA Today
"A smashing debut. Rich and exciting with both substance and
spice."-Star Tribune, Minneapolis
"A sparkling gem."-King Features Syndicate
"An astonishing tour de force."-Margaret Maron
"Superb."-Drood Review of Mystery
"A darned good murder mystery."-USA Today
In her breakout from fantasy and Star Wars novels, Hambly (Mother of Winter) chronicles the adventures of piano teacher and surgeon Ben January, a free man of color. The setting, 1833 New Orleans, is vivid and ornate. Riverboat dandies and roughshod frontiermen rub elbows with dueling gentlemen of the landed aristocracy as their splendidly gowned wives and colored mistresses celebrate Mardi Gras, oblivious to the squalor, fever and plague around them. Social and sexual mores are lax. Racial bigotry is the norm in a society that classifies people according to an elaborate scale of color and bloodline (octoroon, quadroon, musterfino, etc.). The plot is a whodunit involving the murder of Angelique Crozat, a beautiful but grasping octoroon who was the ex-mistress of a recently deceased Creole (white) planter. Back home after 16 years in Paris, January intervenes on behalf of Madeleine Dubonnet, a former piano student recently widowed by Arnaud Trepagier, the murdered woman's former patron. For his trouble, the ebony-skinned January becomes an unwitting scapegoat of the influential white suspects. Menaced by ruthless cutthroats, he must risk his freedom to absolve himself. Hambly pays rich attention to period detail‘fashion, food, manners, music and voodoo. Her characters, however, speak and think with decidedly modern accents, a departure from period verisimilitude that's easily justified on grounds of rhythm and pace. The tale lacks some of the moral gravity implied by the title, but it works as an escapist entertainment flavored liberally with the sights, textures, sounds and tastes of a decadent city in a distant time. (June)
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