Delores Gordon-Smith’s Mad About the Boy is a historical mystery that manages to be both a whodunit and a period piece without one undermining the other. Set in the 1920s, it captures the post-war atmosphere of a society trying to rebuild itself whilst dealing with the scars of a conflict that reshaped everything. It is a well-trodden setting, but Gordon-Smith brings a specificity to it that makes it feel fresh.
The Premise
The story begins with a death that the authorities are quick to dismiss, but which the protagonist suspects is anything but accidental. The investigation that follows pulls at threads connected to the recent war, to old loyalties and to the sort of secrets that people will kill to protect. The mystery itself is well-constructed, with enough suspects and red herrings to keep the reader guessing without becoming convoluted.
What makes the book more than a standard period mystery is its engagement with the social aftermath of the First World War. Gordon-Smith does not treat the 1920s as mere wallpaper. The characters are shaped by their war experiences, and the society they move through is one where the old certainties have been shaken. This gives the mystery a weight that goes beyond the puzzle itself.
Writing Style
Gordon-Smith writes in clean, readable prose with a good period feel. The dialogue captures the cadences of the era without descending into pastiche, and the descriptive passages evoke the setting effectively without becoming travelogue. There is a warmth to the writing that keeps the book from feeling stark, even when the subject matter is dark.
The protagonist’s voice is the book’s anchor. Wry, observant and humanely sceptical, the narration carries the reader through the investigation with a confidence that makes the historical setting feel inhabited rather than researched. The secondary characters are drawn with enough individuality to function as genuine suspects, and the reveal depends on character rather than mere plotting, which is the mark of a good mystery.
Pacing and Structure
The book is well-paced. The investigation unfolds at a steady rhythm, with clues and revelations distributed evenly enough to maintain interest without front-loading the key information. The middle section, where the investigation broadens and the stakes rise, is particularly strong. The climax is dramatic and satisfying, though the resolution comes slightly quickly after a long, careful build-up.
The structure is conventional but effective. Gordon-Smith knows the genre and works within its traditions confidently, and the book benefits from not trying to subvert or reinvent the form. This is a classic mystery, and it is executed with skill.
Who Would Enjoy It
Fans of Golden Age-style mysteries will find much to enjoy here. Readers who like Jacqueline Winspear’s Maisie Dobbs series or Charles Todd’s Ian Rutledge novels will recognise the territory, and Gordon-Smith holds her own in that company. It is a good choice for anyone who likes their mysteries with historical depth and a protagonist worth following.
It is less suitable for readers who want fast-paced thrillers or graphic violence. This is a measured, character-driven mystery that rewards attention.
Rating
4 out of 5 stars
A well-crafted historical mystery with a strong protagonist, an engaging setting and a mystery that depends on character rather than coincidence. Gordon-Smith writes with confidence and a genuine feel for the period. Recommended for fans of the genre.
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