Circa 1948, a crime
A False and Fatal Claim
by Iona Whishaw
Victoria: TouchWood Editions, 2026
$21.95 / 9781771514668
Reviewed by Sergio Espinosa
*
A False and Fatal Claim by Iona Whishaw (A Season for Spies) is the perfect compact source of entertainment to exercise the brain when it comes to solving a murder mystery while at the same time rooting for each characters’ journeys and desires.
The story occurs mostly in King’s Cove, BC, circa 1948, where the lead of this mystery series, Lane Winslow, happens to find an eccentric and opulent hat laying in the beach with no one around to claim ownership. Given Winslow’s inquisitive nature, what starts as a mere inquiry about the whereabouts of the hat owner turns into a thrilling adventure that spans years and generations, having at its root dismal family dynamics and the lengths someone goes through to ensure financial stability no matter the repercussions.
Whishaw’s mastery at character development without losing the rhythm for the plot and the murder investigation is one of the novel’s strongest suits.
Even though A False and Fatal Claim is the latest instalment in a series of over ten books, the characters are relatable enough and well-rounded; and that’s to say, you do not have to have read the previous books to fully grasp their personalities or ways of thinking. Better, the laudable storyteller’s expertise very much encourages a new reader (like me) to dive into the whole series, assuming all of the books contain such vivid and addictive storylines.
From the very beginning, a clear image of Lane Winslow is established, and the same can be said about her husband Mr. Darling, all the crew in the police office, and the other minor characters Whishaw entwines within the story.
The many discussions about women’s and children’s rights and roles during that particular period of time, as well as the discussion of race, enrich the novel to further dimensions. Not only are these topics satisfactorily explored, but they’re integral to the whole plot and push the narrative forward and tie to the characters’ ideals and internal growth. Further, such powerful figures as Tina and April prove how women could occupy and practice what was then viewed as male positions; their presence demonstrates the clear stance the author has in terms of feminism and the equity of the genders no matter the circumstances. Additionally, the whole exploration of how Jerome’s race affects not only his interpersonal relationships and job, but also the community he resides in gives readers an insight into how personal struggles might actually be part of a bigger social narrative.
Conversely, the author aims to engage with delicate and serious topics such as physical and sexual abuse in a not-so-developed subplot. Both of these problematics are brought into the story via characterization, which in turn affects the evolution of the investigation, yet these elements in particular are barely touched in a meaningful manner. Given how I previously mentioned how the author has an innate talent of addressing sensitive issues with a masterful touch, it was a bit of a disappointment to see these themes just briefly stated without any major undercurrent of ideas.
That’s a quibble, though. What a reader notices is the ease and smoothness Vancouver-based Whishaw possesses when it comes to time jumps and following a clear narrative of all the unescapable events that lead to the core of the mystery. Each added detail to the story feels relevant and fruitful—to both character growth and plot development. That, of course, helps keep the reader engaged and attentive, and to care about the outcome and the citizens involved within the gritty and realistic recounting of events. Moreover, Whishaw’s use of real places and even well-known brands grounds the police investigation in a specific time and place, and that lends an authentic, lifelike atmosphere to the novel.
Once everything is revealed about the whodunnit—how it all happened, what led to the crime—readers may recall early scenes and actions that weren’t quite what they seemed. Every action, rationale, and outcome works logically, though, and eventually supports the sturdy foundation the story, which is a well thought out, remarkable riddle.
Whishaw’s A False and Fatal Claim is a veteran author’s expertly-realized narrative that will meddle with the reader’s sleeping schedule due to its effectiveness in delivering a worthwhile mystery that begs to be solved. It’s also a story that dares to go beyond the crime itself to grapple with sensitive and real-world subjects to boost an already great work of entertainment into something intimately tied to real life and nuanced.
*
Sergio Espinosa is a third year English (Major) and Creative Writing (Minor) BA student at Thompson Rivers University with an interest in reading, baking, and running. [Editor’s note: Sergio recently reviewed Kim Fu for BCR.]
*
The British Columbia Review
Interim Editors: Trevor Marc Hughes (nonfiction), Brett Josef Grubisic (fiction and poetry)
Publisher: Richard Mackie
Formerly The Ormsby Review, The British Columbia Review is an online book review and journal service for BC writers and readers. The Advisory Board now consists of Jean Barman, Wade Davis, Robin Fisher, Barry Gough, Hugh Johnston, Kathy Mezei, Patricia Roy, and Graeme Wynn. Provincial Government Patron (since September 2018): Creative BC. Honorary Patron: Yosef Wosk. Scholarly Patron: SFU Graduate Liberal Studies. The British Columbia Review was founded in 2016 by Richard Mackie and Alan Twigg.
“Only connect.” – E.M. Forster