
Alanna Knight (1923–2020)
Author of The Inspector's Daughter
About the Author
Alanna Knight is the founding member of the Scottish Association of Writers.
Series
Works by Alanna Knight
Faro and the Bogus Inspector 2 copies
Inspector Faro 1-11 1 copy
Associated Works
Crime Through Time: Original Tales of Historical Mystery (1997) — Contributor — 137 copies, 2 reviews
Malice Domestic 08: An Anthology of Original Traditional Mystery Stories (1999) — Contributor — 51 copies
A Taste of Murder: Diabolically Delicious Recipes from Contemporary Mystery Writers (1999) — Contributor — 48 copies, 1 review
Tagged
Common Knowledge
- Legal name
- Knight, Gladys Allan Cleet
- Other names
- Hope, Margaret (pen name)
- Birthdate
- 1923-02-24
- Date of death
- 2020-12-02
- Gender
- female
- Occupations
- novelist
crime writer
memoirist
biographer
detective novelist
painter (show all 9)
creative writing teacher
public speaker
historical novelist - Organizations
- Edinburgh Writers' Club
Scottish Association of Writers
Society of Authors
Crime Writers' Association - Awards and honors
- MBE
- Short biography
- Alanna Knight was born Gladys Allan Cleet in Jesmond, a suburb of Newcastle-upon-Tyne, England. Her father was a master butcher. She left school at age 16 and trained as a secretary at a commercial college.
In 1951, she married Alistair Knight, a scientist, and lived in Aberdeen, Scotland, where he had a post at the Macaulay Institute of Soil Research. The couple had two sons. In 1963, her husband's work took the family to Beirut, Lebanon, for a six-month assignment. It was shortly after, in 1964, that Alanna Knight became paralyzed by polyneuritis (neuropathy). Her husband gave her an electric typewriter to help in her recovery, and by the time the paralysis ended five years later, she had written her first novel, Legend of the Loch (1969). Her literary career was launched, and she published another 61 books over the next 50 years, ranging from romantic and historical fiction to gothic suspense, true crime, memoirs, and biography. Some of her books appeared under the pen name Margaret Hope. Her best known series was the Inspector Jeremy Faro mysteries, set in 19th century Edinburgh. She also wrote a series about a time-traveling detective named Tam Eildor, and series about women detectives. Knight was honorary president of the Edinburgh Writers Club, a founder and honorary president of the Scottish Association of Writers, and an active member of the Crime Writers' Association. She taught creative writing and lectured on the topic from universities to Bloody Scotland, a literary convention. She was also a portrait and landscape painter. Knight was made a Member of the British Empire for services to literature in 2014. - Nationality
- Scotland
- Birthplace
- Jesmond, Newcastle-on-Tyne, England
- Places of residence
- Edinburgh, Scotland, UK
- Place of death
- Edinburgh, Scotland, UK
- Associated Place (for map)
- Edinburgh, Scotland, UK
Members
Reviews
Worn down from caring for her terminally ill father, May Lachlan travels to the Scottish island of Clodha after his death, visiting the paternal grandmother and kin she had never met. Here she finds herself drawn to Roderick 'Rory' MacMhor, the lord of Castle Clodha and the chief of the MacMhor clan. Haunted by a centuries-old curse, cast by a witch wronged by one of his ancestors, the MacMor are said to be unlucky in love. As May confronts Rowan, the witch whose ghost still still haunts show more Castle Clodha, she must also deal with danger in the real world...
Before stumbling across Castle Clodha on the Internet Archive the other day, I had never heard of author Alanna Knight, who apparently lives in the Edinburgh area, and is particularly known for her mystery novels. I'm not sure why I decided to read it - perhaps because the cover reminded me of those old 70s Harlequin romances that used to crop up at our church rummage sales, when I was a girl? Perhaps because the book summary reminded me a bit of the gothic romances from authors like Mary Stewart, that I enjoyed as an adolescent? In any case, I did read it, and despite being well aware of its over the top melodrama, and seeing its big reveal almost from the beginning, I enjoyed it. May's perspective on the 'savagery' of Highland culture was somewhat odd - her reflections would lead one to believe that she had traveled to an utterly alien culture, where (unlike in England) men sometimes fight one another (the horror!) - and there was lots of that "mystical Scottish magic" stuff that was amusing in ways the author perhaps didn't intend. Still, if one get swallow all that, and if one likes the genre of gothic mystery-romance, it's an entertaining way to spend an hour or two. show less
Before stumbling across Castle Clodha on the Internet Archive the other day, I had never heard of author Alanna Knight, who apparently lives in the Edinburgh area, and is particularly known for her mystery novels. I'm not sure why I decided to read it - perhaps because the cover reminded me of those old 70s Harlequin romances that used to crop up at our church rummage sales, when I was a girl? Perhaps because the book summary reminded me a bit of the gothic romances from authors like Mary Stewart, that I enjoyed as an adolescent? In any case, I did read it, and despite being well aware of its over the top melodrama, and seeing its big reveal almost from the beginning, I enjoyed it. May's perspective on the 'savagery' of Highland culture was somewhat odd - her reflections would lead one to believe that she had traveled to an utterly alien culture, where (unlike in England) men sometimes fight one another (the horror!) - and there was lots of that "mystical Scottish magic" stuff that was amusing in ways the author perhaps didn't intend. Still, if one get swallow all that, and if one likes the genre of gothic mystery-romance, it's an entertaining way to spend an hour or two. show less
Ridiculous 'parallel novel' to Dickens' 'Great Expectations', which can only be explained as a parody of mid-nineteenth century social conscience novels and really bad romances.
My main issue with Estella's story, and I have many, is that it's based on a chronological displacement. Pip, and therefore Estella, who was of about the same age, were born at the turn of the nineteenth century, so how she reaches womanhood in the 1850s, around the time of the Great Exhibition and later the Crimean show more War, is a mystery. Although she is 'nearly thirty' for most of the book, too, so I can only assume that we are to take her as an unreliable narrator. (No wonder she can't have children, if she's really fifteen years older than she claims!)
Secondly, from 'apologising' for the cruel, haughty, untouchable Estella of Dickens' work - 'None of you really knew me very well. I was not the girl I appeared to be but like an actress on the stage' - Alanna Knight loses sight of the original character altogether in the second half of the book. The mirroring of events in 'Great Expectations' presents Estella as almost having a split personality, saying one thing but protesting her innocence/goodness/true feelings in the narrative. As with all ambiguous heroines in 'modern' revisions, their lack of femininity must be explained or denied, and Knight's treatment of Estella is no different. There is even a benevolent maternal housekeeper 'below stairs' in Satis House to balance Miss Havisham's unnatural tutoring! Instead of cowardly backing down, a braver and far more intriguing development of Dickens' Estella would have been to follow the original template and show just how she was 'broken into a better shape', as she tells Pip, instead of protesting how genuine and earthy and loveable she really was throughout.
Which leads me onto Knight's less than subtle preaching and moralising. Obviously disturbed by Estella's lofty position in 'Great Expectations', the author takes great pains to establish how nature is stronger than nurture by playing up Estella's gypsy roots, a common feature of romance novels. Estella is constantly harping on the plight of the poor, evenly randomly quoting a passage from Gaskell's 'Mary Barton' at one point. She may have been raised by a wealthy eccentric in a big house, and 'finished' in Paris so that she may better entrap a wealthy spouse, but Estella is all too aware of the poorer heads she has stepped on to get to the top. 'For indeed there was nothing I could do but make myself miserable at nights lying awake in my comfortable warm bed and pondering why the good Lord had not seen fit to allow me to sleep upon a filthy straw pallet in an overcrowded room'. No, really!
Aside from the placating and pontificating, the actual plot is a ludicrous combination of Dickensian coincidences, Mills and Boon entanglements, Catherine Cookson hardships, and the occasional reappearance of secondary characters from 'Great Expectations'. After Drummle, her husband in Dickens' novel, Estella attaches herself to a perverted millowner, a gipsy, and a good doctor, loses various children of her own and adopts a daughter in the form of a plot device, runs away from being accused of murder twice, and is universally beloved by everybody. She ends up in Miss Havisham's dower house with her 'adopted' daughter and her beloved Pip, which came as no surprise - I was only wondering throughout how Knight would deal with the various husbands and lovers that Estella obviously doesn't have when Pip is reunited with her at the end of 'Great Expectations'.
If, like me, Dickens' Estella intrigued and enchanted you, just remember that her name means 'little star' in Spanish, and she should therefore remain cold, brilliant and distant. This imagining of her life fills in few blanks and does her reputation no favours. (Also, the cover is horrendous - Estella has a ratty, ringletted mullet going on. That should have been ample warning as to the contents!) show less
My main issue with Estella's story, and I have many, is that it's based on a chronological displacement. Pip, and therefore Estella, who was of about the same age, were born at the turn of the nineteenth century, so how she reaches womanhood in the 1850s, around the time of the Great Exhibition and later the Crimean show more War, is a mystery. Although she is 'nearly thirty' for most of the book, too, so I can only assume that we are to take her as an unreliable narrator. (No wonder she can't have children, if she's really fifteen years older than she claims!)
Secondly, from 'apologising' for the cruel, haughty, untouchable Estella of Dickens' work - 'None of you really knew me very well. I was not the girl I appeared to be but like an actress on the stage' - Alanna Knight loses sight of the original character altogether in the second half of the book. The mirroring of events in 'Great Expectations' presents Estella as almost having a split personality, saying one thing but protesting her innocence/goodness/true feelings in the narrative. As with all ambiguous heroines in 'modern' revisions, their lack of femininity must be explained or denied, and Knight's treatment of Estella is no different. There is even a benevolent maternal housekeeper 'below stairs' in Satis House to balance Miss Havisham's unnatural tutoring! Instead of cowardly backing down, a braver and far more intriguing development of Dickens' Estella would have been to follow the original template and show just how she was 'broken into a better shape', as she tells Pip, instead of protesting how genuine and earthy and loveable she really was throughout.
Which leads me onto Knight's less than subtle preaching and moralising. Obviously disturbed by Estella's lofty position in 'Great Expectations', the author takes great pains to establish how nature is stronger than nurture by playing up Estella's gypsy roots, a common feature of romance novels. Estella is constantly harping on the plight of the poor, evenly randomly quoting a passage from Gaskell's 'Mary Barton' at one point. She may have been raised by a wealthy eccentric in a big house, and 'finished' in Paris so that she may better entrap a wealthy spouse, but Estella is all too aware of the poorer heads she has stepped on to get to the top. 'For indeed there was nothing I could do but make myself miserable at nights lying awake in my comfortable warm bed and pondering why the good Lord had not seen fit to allow me to sleep upon a filthy straw pallet in an overcrowded room'. No, really!
Aside from the placating and pontificating, the actual plot is a ludicrous combination of Dickensian coincidences, Mills and Boon entanglements, Catherine Cookson hardships, and the occasional reappearance of secondary characters from 'Great Expectations'. After Drummle, her husband in Dickens' novel, Estella attaches herself to a perverted millowner, a gipsy, and a good doctor, loses various children of her own and adopts a daughter in the form of a plot device, runs away from being accused of murder twice, and is universally beloved by everybody. She ends up in Miss Havisham's dower house with her 'adopted' daughter and her beloved Pip, which came as no surprise - I was only wondering throughout how Knight would deal with the various husbands and lovers that Estella obviously doesn't have when Pip is reunited with her at the end of 'Great Expectations'.
If, like me, Dickens' Estella intrigued and enchanted you, just remember that her name means 'little star' in Spanish, and she should therefore remain cold, brilliant and distant. This imagining of her life fills in few blanks and does her reputation no favours. (Also, the cover is horrendous - Estella has a ratty, ringletted mullet going on. That should have been ample warning as to the contents!) show less
This was the second spin off novel from Great Expectations I have read recently. This focused specifically on Estella's life during and after her marriage to Bentley Drummle, before she met Pip again in the ruins of Satis House. It followed the events and themes of Dickens's classic more closely and, for me, more satisfyingly than Ronald Frame's Havisham novel. Estella here was a much more sympathetic character throughout than in GE, and was pining after her lost opportunity with Pip almost show more as soon as she married Drummle. It was an engaging novel, though the constant misfortunes she encountered with various men painted a more wretched picture of her life than is seen in GE. 4.5/5. show less
Inspector Jeremy Faro is back in his 14th mystery. In this installment we are treated to a trip back in time when Jeremy Faro was still a constable and in hot pursuit of his nemesis Macheath. Chasing Macheath across the English countryside, Faro finds himself in Kent. As fate would have it, he runs into an old school chum, Erland Flett, and is invited to stay at the artist William Morris' Red House.
Suddenly immersed in a Bohemian style community, Faro is distracted from his pursuit by the show more impending nuptials of his friend to the beautiful and mysterious Lena Hamilton. While Faro recognizes the young lady, Flett has no idea that he is in reality engaged to Scotland's infamous murderess, Madeleine Smith.
When Flett falls ill, Faro is left to wonder if Smith has been up to her old ways. As he tries to ferret out the truth and save his friend, Faro's pursuit of Macheath heats up in this well-crafted whodunit.
The Bottom Line: Author Alanna Knight has masterfully blended the real-life characters of Madeleine Smith and the pre-Raphaelite artists into Inspector Faro's fictional world creating a house party murder theme that is highly entertaining. The twists and turns of this Victorian era mystery will leave you wanting more. Although this is the 14th installment in the Inspector Faro mysteries, it is not necessary to have read the prior books. Very highly recommended for mystery lovers who enjoy historical settings. show less
Suddenly immersed in a Bohemian style community, Faro is distracted from his pursuit by the show more impending nuptials of his friend to the beautiful and mysterious Lena Hamilton. While Faro recognizes the young lady, Flett has no idea that he is in reality engaged to Scotland's infamous murderess, Madeleine Smith.
When Flett falls ill, Faro is left to wonder if Smith has been up to her old ways. As he tries to ferret out the truth and save his friend, Faro's pursuit of Macheath heats up in this well-crafted whodunit.
The Bottom Line: Author Alanna Knight has masterfully blended the real-life characters of Madeleine Smith and the pre-Raphaelite artists into Inspector Faro's fictional world creating a house party murder theme that is highly entertaining. The twists and turns of this Victorian era mystery will leave you wanting more. Although this is the 14th installment in the Inspector Faro mysteries, it is not necessary to have read the prior books. Very highly recommended for mystery lovers who enjoy historical settings. show less
This review was written for LibraryThing Early Reviewers.Lists
Awards
You May Also Like
Associated Authors
Statistics
- Works
- 66
- Also by
- 6
- Members
- 658
- Popularity
- #38,342
- Rating
- 3.4
- Reviews
- 27
- ISBNs
- 243
- Favorited
- 1















