‘I always know when a novel is going to be a Barbara Vine one,’ Ruth Rendell said to me in 1998. ‘In fact I believe that if I weren’t to write it as Barbara Vine, I wouldn’t be able to write it at all.’ A Barbara Vine — from the first, A Dark-Adapted Eye (1986) onwards — tends to take a specific period, distinct in mores and cultural tensions, and to concentrate on emotionally charged events, invariably climaxing in violent death, which stand in metaphoric relationship to it.
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