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The Telling Error

Culver Valley Crime Book 9

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The Telling Error

By: Sophie Hannah
Narrated by: David Thorpe, Julia Barrie
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Summary

 Stuck in a traffic jam, Nicki Clements sees a face she hoped never to see again. It's definitely him, the same police officer, stopping each car on Elmhirst Road. Keen to avoid him, Nicki does a U-turn and makes a panicky escape.

Or so she thinks. The next day, Nicki is pulled in for questioning in connection with the murder of Damon Blundy, controversial newspaper columnist and resident of Elmhirst Road.

Nicki can't answer any of the questions detectives fire at her. She has no idea why the killer used a knife in such a peculiar way, or why 'HE IS NO LESS DEAD' was painted on Blundy's study wall. And she can't explain why she avoided Elmhirst Road that day without revealing the secret that could ruin her life.

Because although Nicki is not guilty of murder, she is far from innocent . . .

(P)2014 Hodder & Stoughton©2014 Loose Ship Ltd Crime Fiction Genre Fiction Psychological Suspense Thriller & Suspense Fiction Crime Murder Mystery
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Critic reviews

Riveting . . Her best twists and solution yet
The queen of psychological crime . . . Fiendishly clever . . . Hannah is masterly at leading the reader down the wrong path and here she excels once again.
The genius of Hannah's domestic thrillers - along with the twistiest plots known to woman - is that she creates ordinary people whose psychological quirks make them as monstrous as any serial killer.
The queen of the ingenious plot twist
Hannah has revived the apparently exhausted detective genre by inventing a new style. You could call it every-day Gothic or ordinary extremism. But whatever label you stick on her books, they stay with you because you are likely to share or at least understand the motives of the killer.
There is an admirable, complicated cleverness about [Hannah's] stories . . . Think Agatha Christie at her best but updated to a time of Twitter and online dating.
Each of Hannah's characters is incredibly psychologically developed, full of light and shade: a challenge to understand. If you want a tale to keep you on your toes, give your brain a jolt, and cause a series of heart attacks, THE TELLING ERROR is for you. Hannah proves once again that she deserves the accolade of Queen of Crime.
Difficult to put down. Hannah is terrific on complex, tangled, forbidden or impossible relationships that result in murder.
An exceptional storyteller - this is exactly the sort of crime read that can lead to missed tube stops and sleepless nights.
All stars
Most relevant
I really enjoyed this, finished it in one sitting. I was gripped and loved the twists and turns of this one. Very good indeed!

One of the BEST

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Another great book in the Culver Valley series. I enjoyed the use of two narrators, I feel it added a lot to the story and the way it is told.

brilliant story, excellently narrated

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Having enjoyed the whole Culver Valley series, I felt somewhat let down when Giles Proust not only changed the pronunciation of his name but his accent and whole personality. You wouldn’t think that was possible when just narrating what is written but so much is in the tone of voice. Why are new narrators for a series not asked to listen to previous books? Or told how to pronounce.names? Seems very lax to me. Luckily he didn’t have a big part in this story as it would have ruined it.

Good as ever but irritating Male narration

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The accent used for Damon Blundy was the most aggravating narration ever experienced in a Sophie Hannah audio book. It made me want to fast forward every time. Would have much rather had Julia Barrie narrating the male parts in the book as usual.

Great as always apart from Damon Blundy accent!!

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I used to be a passionate fan of Sophie Hannah. "Little Face" was nothing short of brilliant, and the next 2/3 in the "Culver Valley" series were (almost) equally as good. If you're a lover of the "puzzle unravelled" type of mystery I'd recommend any of these.
However from there I'm afraid things have gone downhill fast.
Ponderous prose, weak characterisation and plodding tempo seem to have become the order of the day.
I'm afraid that this one is quite possibly the worst of the lot.
To call the plot contrived and convoluted would be the nicest thing I could say about it.
Compared with her earlier work I'm afraid this is starting to feel like "ok I suppose I'd better knock out another one". I'm reading dialogue I really don't care about from characters I used to love but who have become...... monotonous I'm afraid.

It's sad, but I think it's time for me

Little Pace

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