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The Daughter of Time is a 1951 detective novel by Josephine Tey, concerning a modern police officer's investigation into the alleged crimes of King Richard III of England. It was the last book Tey published in her lifetime, shortly before her death. In 1990 it was voted number one in The Top 100 Crime Novels of All Time list compiled by the British Crime Writers' Association (CWA). Plot: Scotland Yard Inspector Alan Grant (a character who also appears in five other novels by the same author) show more is feeling bored while confined to bed in hospital with a broken leg. Marta Hallard, an actress friend of his, suggests he should amuse himself by researching a historical mystery. She brings him some pictures of historical characters, aware of Grant's interest in human faces. He becomes intrigued by a portrait of King Richard III. He prides himself on being able to read a person's character from his appearance, and King Richard seems to him a gentle, kind and wise man. Why is everyone so sure that he was a cruel murderer? With the help of other friends and acquaintances, Grant investigates Richard's life and the case of the Princes in the Tower, testing out his theories on the doctors and nurses who attend to him. Grant spends weeks pondering historical information and documents with the help of Brent Carradine, a likable young American researcher working in the British Museum.[2] Using his detective's logic, he comes to the conclusion that the claim of Richard being a murderer is a fabrication of Tudor propaganda, as is the popular image of the King as a monstrous hunchback. CREATED: Narrated by Nick Donovan Author: Josephine Tey Date of original publication: 1951 Genre: detective novel Language : English Version : unabridged, full/complete Without subtitles. show lessTags
Recommendations
Member Recommendations
LisaMaria_C For me The Daughter of Time and The Sunne in Splendour go hand in hand. The first is the classic mystery "solving" the mystery of the Two Princes in the Tower and the second a sympathetic biographical novel of Richard III which is well-researched and moving.
121
Cynara Both books are, broadly speaking, mysteries debunking the popular misconceptions around Richard III; Tey's book is entirely concerned with the subject, and Peters' does so as a sort of subplot, in addition to a more traditional mystery. I'd suggest reading Tey first, as her mystery has less to offer once you've read Peters.
90
Cynara Two hospitalised detectives work through historical mysteries, investigating from their cots. Tey's is the more famous work, and will give you a good education on the ins and outs of the rehabilitation of Richard III, but to my mind, Dexter's book is better.
61
bookwoman247 This is a mystery involving Richard III and the two princes in the tower, and seems to have garnered a bit of respect. It's a great read on its own, and would make a great companion read to Shakespeare's Richard III.
62
bjappleg8 Both novels use detectives to explore historical mysteries surrounding princes banished to towers and whose fates can never be known for certain.
shaunie The detective solves the crime whilst bedridden in both. Both also somewhat overrated?
kmcmahon Though very different types of book, both feature modern day characters trying to solve famous mysterious deaths from centuries before.
Member Reviews
This is Tey's most famous mystery, and is found on almost all "Best Mysteries of All Time" lists, for good reason. Tey's hero detective, Inspector Grant, is laid up in this book with a badly broken leg. He is flat on his back in hospital and bored out of his mind. A friend suggests that perhaps he could amuse himself investigating unsolved crimes in history. He ends up fascinated with the story of Richard III, famed hunchback king notorious for having had his two young nephews (The Princes in the Tower) murdered prior to his own death in battle at Bosworth field. And he slowly comes to the conclusion, after rigorous investigation in the police manner, aided by a young American historian looking a project to do the leg work, that Richard show more was the victim of the syndrome of history being written by the winners. He finds Richard not only not guilty, but even admirable.
It's a theory not original to Tey, and not universally accepted, but very logically presented. And by presenting it in a popular novel, rather than a dry historical tome, she did wonders in rehabilitating the image of Richard III, and introducing the potential of history for popular consumption. It's a fascinating book, that deserves it's stellar reputation. show less
It's a theory not original to Tey, and not universally accepted, but very logically presented. And by presenting it in a popular novel, rather than a dry historical tome, she did wonders in rehabilitating the image of Richard III, and introducing the potential of history for popular consumption. It's a fascinating book, that deserves it's stellar reputation. show less
I re-read Josephine Tey’s 1951 novel, ‘The Daughter Of Time’ as part of a buddy read on BookLikes, so I shared my thoughts as I went along. I’ve structured this review to give my overall impression and then included the impressions I had as I read through the book.
Overall Impression
Set in 1951, 'The Daughter Of Time' is an investigation of whether or not Richard III was the monster our history books say he was. It is carried out by a Inspector in the Metropolitan Police who takes up the investigation to relieve his boredom while at being confined to a hospital bed, flat on his back, while he recovers from an injury. Richard catches his attention because the detective prides himself on his ability to read faces and is chagrined show more to find that, without knowing his name, he has classed Richar as being 'on the bench' rather than 'in the dock'.
'The Daughter Of Time' is remarkable for being entertaining, humorous, occasionally suspenseful and never overtly didactic, while delivering a serious insight into the way myths are created, peddled as history and become part of the national identity through the indoctrination of young children via the use of simple, memorable, emphatic 'true-stories'. It shows how, once embedded in this way, these stories become unassailable, not because they cannot be disproved but because we have built them into our own story and will not easily give them up for that would be like pulling on a loose thread, once you start, there's no telling what might be undone.
It's also remarkable for twisting the novel form to its purpose. 'The Daughter Of Time' is close to being a play, especially if you include Shaw's plays with their lengthy stage directions and off-stage character insights. It depends almost entirely on dialogue. Yet who would watch a play with only one set, with all the physical action being off-stage and most of the passion happening inside the head of disgruntled, immobile Police Inspector? Well, actually, a lot of people, if you think of the success on The Weet End and Broadway of 'Whose Life Is It Anyway' twenty years later.
It's a novel that is hard to classify other than under the categories like 'Original', 'Innovative' and 'Bold' - all of which are terms that were used by the Englsh Civil Service to warn of a need for caution.
It could have been written with the three goals enshrined in the BBC's charter in mind: 'To inform, to educate and to entertain.'
It must have been well ahead of its time when it was published in 1951. Now, it's a step away from the programs that the BBC make where a photogenic historian, usually a woman with long red hair and an impeccable upper class accent or a long-haired charismatic Scotsman, speak to camera from visually impressive historical locations, interspersed with actors in period costumes glowering at one another and miming out the actions the photogenic historian's voice-over is describing.
As a novel, it doesn't do much for me. As a wake-up call to cast off the weight of the dead hand of history, it's outstanding. It's also a lot of fun.
8%. - a very cunning start - I pity her publisher
It's been many decades since I read this book so I knew I was going to see lots of things now that I didn't see then, I just didn't expect that to start with the first chapter.
I like the set-up and the description of 'the prickles' of boredom that are tormenting Inspector Alan Grant. I don't like Grant very much, but I'm making allowances, assuming that he's being testier than usual because of his situation and isn't always so unpleasant about women or such a snob.
What makes me smile is that this chapter is a tongue-in-cheek pitch to Tey's publisher. Here she is, an established author with five books to her name and what is she about to bring to her eagerly-waiting fanbase? - a book where the detective can't leave his bed, the crime is five hundred years old, all the suspects are dead and the 'hero' is a man people have been hissing and booing on the stage for generations.
So she starts the book with an attack on what we'd now call 'branding' in publishing.
Grumpy Grant, faced with a motley pile of the lastest novels thinks:
‘There are far too many people born into the world, and far too many words written. Millions and millions of them pouring from the presses every minute. It’s a horrible thought.’
and shortly afterwards opines:
'Authors today wrote so much to a pattern that their public expected it. The public talked about ‘a new Silas Weekley’ or ‘a new Lavinia Fitch’ exactly as they talked about ‘a new brick’ or ‘a new hairbrush’. They never said ‘a new book by’ whoever it might be. Their interest was not in the book but in its newness. They knew quite well what the book would be like.'
How's that for a warning shot across your publisher's bows?
17% What we really teach in schools
I love the way Tey challenges our received wisdom on 2,000 years of English history by going back to the books that fed us that wisdom.
She describes one of the school books, an Historical Reader, by saying that:
'It bore the same relation to history as Stories from the Bible bears to Holy Writ.
After describe it's simple storytelling style she says:
'This, after all, was the history that every adult remembered. This was what remained in their minds when tonnage and poundage, and ship money, and Laud’s Liturgy, and the Rye House Plot, and the Triennial Acts, and all the long muddle of schism and shindy, treaty and treason, had faded from their consciousness.'
Sadly, this is true and almost every one of those stories is false. There is no 2,000-year history of England because for most of that time England didn't exist.
When I went to university, I was shocked to discover how much I'd been lied to at school. I studied at York, which I learned had been known as Jorvik and had spent a century or so as the centre of the Viking lands in the British Isles. In school, I'd been told that Vikings had raided England but I hadn't been told that a large part of what gets called England didn't belong to any English King until it was conquered by the Normans who had invaded the island. This changed my whole attitude to history.
I read 'The Daughter Of Time' while I was at university and wondered how, if this stuff had all been written in 1951, I was still fed Shakespeare-as-history in the 1970s.
37% Like a set of Matryoshka dolls
The storytelling is strucuted around an elborate conceit that reminds me of a set of Matryoshka dolls nested within one another. Alan Grant is reading a fictional account of the life of Richard III's mother, written by a fictional author of Tey's invention, in in order to establish real events and then mixing in a non-ifctional account from Thomas Moore - all while having absolutely nothing happen, not even a change of scene.
It's a lot to take in and ought to be dull and dry and unforgivably static, but it isn't. It's engaging and occaisionally amusing. I'm not sure how Tey is doing that.
44% Meeting the woolly lamb
I love the way the researcher who will do the legwork for Grant is introduced. Grant's actress friend, Marta, on hearing that some research needs to be done, immediately thinks of her 'woolly lamb'. The scene that follows lights up the book.
The tap at his door was so tentative that he had decided that he had imagined it. Taps on hospital doors are not apt to be tentative. But something made him say: ‘Come in!’ and there in the opening was something that was so unmistakably Marta’s woolly lamb that Grant laughed aloud before he could stop himself. The young man looked abashed, smiled nervously, propped the spectacles on his nose with a long thin forefinger, cleared his throat, and said: ‘Mr Grant? My name is Carradine. Brent Carradine. I hope I haven’t disturbed you when you were resting.’ ‘No, no. Come in, Mr Carradine. I am delighted to see you.’ ‘Marta—Miss Hallard, that is—sent me. She said I could be of some help to you.’ ‘Did she say how? Do sit down. You’ll find a chair over there behind the door. Bring it over.’ He was a tall boy, hatless, with soft fair curls crowning a high forehead and a much too big tweed coat hanging unfastened round him in negligent folds, American-wise. Indeed, it was obvious that he was in fact American. He brought over the chair, planted himself on it with the coat spread round him like some royal robe and looked at Grant with kind brown eyes whose luminous charm not even the horn-rims could dim.
This is becoming quite cinematic in a 'Rear Window' kind of way, although 'The Daughter Of Time' predates Hitchcock's movie by three years.
https://www.youtube.com/watch?v=m01YktiEZCw
52%. - Troops at Tonypandy?
Grant makes Tonypandy into a noun describing events where the popular narrative diverges significantly from the facts and where the narrative is strong enough to resist being corrected by exposure to the facts. He is refering to the riots in Tonypandy in the Rhonda Valley in South Walres, during the miners strike of 1910/11 which he claims have been mythologised.
Police blockade a street in Tonypandy during the events of 1910–1911
I looked up Tonypandy on Wikipedia, a source that can be modified be anybody but which we tend to rely on, and it agrees neither with troops-shot-miners version or Grumpy Grant’s it-was-unarmed-Met-police-with-no-troops.
it seems history is a constantly changing story only loosely linked to what happened, especially once all of the medical records disappear.
67% Fake News As History
The more I read the contemporary accounts of Richard and compare them to the received wisdom, the more I wonder what candy floss fantasy will have ossified into the received wisdom explaining Trump’s presidency or thé Brexit vote or who excelled in responding to the corona virus (which may, by then, be the alleged Corona virus).
I shudder at the thought that Fake News will become School History but it seems, in the case of the Tudors, it already has. show less
Rating: 4.5* of five
The Publisher Says: Scotland Yard Inspector Alan Grant is intrigued by a portrait of Richard III. Could such a sensitive face actually belong to a heinous villain — a king who killed his brother's children to secure his crown? Grant seeks what kind of man Richard was and who in fact killed the princes in the tower.
My Review: Many's the Golden Age mystery that, viewed by modern eyes and filtered through epithet-intolerant lenses, doesn't hold up well. This novel, published in 1951, not only holds up well but shows up many a modern "master" of the form. This isn't some bloated tome that makes your night table sag. This isn't some CSI-esque science class in blood chemistry or the digestive system. It is a beautifully show more constructed, interestingly conceived, historically extremely persuasive treatise on the subject of Richard III and the Little Princes in the Tower he allegedly murdered.
It is also a "thumping good read," as a Canadian friend of mine calls them: A book that sucks you in, seduces you with clarity and fascination, and at the end, leaves you fully satisfied. The Daughter of Time was her last completed novel, and the last published before her death from cancer at the absurdly young (to modern sensibilities) age of 56. However thoroughly delicious a catalog of work she left us with, including a posthumously published novel The Singing Sands, another decade or two would likely have given us many more delights. Call me greedy, but I crave those lost ideas. Curse you, cigarettes! show less
The Publisher Says: Scotland Yard Inspector Alan Grant is intrigued by a portrait of Richard III. Could such a sensitive face actually belong to a heinous villain — a king who killed his brother's children to secure his crown? Grant seeks what kind of man Richard was and who in fact killed the princes in the tower.
My Review: Many's the Golden Age mystery that, viewed by modern eyes and filtered through epithet-intolerant lenses, doesn't hold up well. This novel, published in 1951, not only holds up well but shows up many a modern "master" of the form. This isn't some bloated tome that makes your night table sag. This isn't some CSI-esque science class in blood chemistry or the digestive system. It is a beautifully show more constructed, interestingly conceived, historically extremely persuasive treatise on the subject of Richard III and the Little Princes in the Tower he allegedly murdered.
It is also a "thumping good read," as a Canadian friend of mine calls them: A book that sucks you in, seduces you with clarity and fascination, and at the end, leaves you fully satisfied. The Daughter of Time was her last completed novel, and the last published before her death from cancer at the absurdly young (to modern sensibilities) age of 56. However thoroughly delicious a catalog of work she left us with, including a posthumously published novel The Singing Sands, another decade or two would likely have given us many more delights. Call me greedy, but I crave those lost ideas. Curse you, cigarettes! show less
I'm still trying to figure out why a mystery with a man confined to a bed in hospital with a broken leg and concussed spine was so engaging. I couldn't put the book down!
The story opens with Inspector Alan Grant staring at the ceiling in his hospital room. A friend brings a variety of historical pictures to try to get him interested in solving historical mysteries while he is convalescing. The portrait of Richard III intrigues him and sets him on a quest to find out more about the man and his supposed evil deeds.
He's assisted by a young American researcher who followed a girlfriend to London and is now studying in order to keep his father off his back. Brent Carradine acts as Grant's legs and soon comes to share his fascination with show more the mystery of Richard III.
I loved the historical detail and the way Grant uses his investigative skills to piece together the puzzle. show less
The story opens with Inspector Alan Grant staring at the ceiling in his hospital room. A friend brings a variety of historical pictures to try to get him interested in solving historical mysteries while he is convalescing. The portrait of Richard III intrigues him and sets him on a quest to find out more about the man and his supposed evil deeds.
He's assisted by a young American researcher who followed a girlfriend to London and is now studying in order to keep his father off his back. Brent Carradine acts as Grant's legs and soon comes to share his fascination with show more the mystery of Richard III.
I loved the historical detail and the way Grant uses his investigative skills to piece together the puzzle. show less
A contrarian effort to rehabilitate a man wrongly villainized is an interesting concept, and Josephine Tey is an able and eloquent writer. In this book, she claims to expose a conspiracy to assassinate the good name of England’s King Richard III. The outcome is about as respectable as The Da Vinci Code might have been if Dan Brown were a competent writer; one rater even named this book as the top mystery novel of all time.
Unfortunately, I can’t share that view. The Daughter of Time, like The Da Vinci Code, delivers neither a convincing argument nor a good novel.
In fact, why is it a novel at all? It has no suspense, no ticking clock, and no present-day stakes for the detective protagonist other than amusing himself while recovering show more from an injury. But all that is beside the point for Josephine Tey, because the detective’s real purpose is to serve as a mouthpiece for the author’s views. Presenting those views through fiction lets the author get away with quite a lot, including a vicious campaign to discredit Thomas More, whose account of Richard III contradicts Tey’s thoroughly.
Others have taken apart the details; my objection is to the author’s method, which is sloppy at best and impervious to evidence at worst.
There’s a specific point where I gave up for good on Tey’s credibility. It comes in Chapter 10, when she examines the date Lord Hastings was beheaded. The characters deny Thomas More’s version of events, which they paraphrase thus: “Yes, according to the sainted More he was rushed down to the courtyard and beheaded on the nearest log.”
(I am highly skeptical that Tey summarizes More fairly here, especially since his name is repeatedly slimed in sarcasm as “the sainted More,” an epithet that appears 24 times in the book.) Tey rebuts him as follows:
“Rushed nothing,” said Carradine disgustedly. “He was beheaded a week later. There’s a contemporary letter about it that gives the date.”
Wait a second. When two sources conflict, doesn’t it require investigation to determine which of the two is correct? And shouldn’t this investigation begin with identifying what they both were? But Tey doesn’t think it matters who wrote that letter, or to whom, or what it says. Her evaluation begins and ends with noticing that it disagrees with More about the date of the beheading, and to her that’s enough to proclaim it canon and proclaim More discredited.
Once you notice this nakedly biased cherry-picking of sources and data, you have to wonder what else the author has left out. She is not reviewing the case with an even hand. She is choosing fictional storytelling as her medium to propagandize, and that permits her to twist and slant the story in whatever way suits her.
If she truly had the courage of her convictions, then why not publish a scholarly work of nonfiction so that the academic world can review it and possibly get behind it? She clearly wants us to believe that such a work would be not only possible but unassailable. But she just as clearly doesn’t expect historians to go along with it, so instead she delivers withering preemptive smears against historians — all historians, as such — that put her sneering at Thomas More to shame: “Honestly, I think historians are all mad” … “Grant wondered with what part of their brains historians reasoned” … “I’ll never again believe anything I read in a history book, as long as I live, so help me.” Broad-brush smears like these simply aren’t found in a respectable or a credible account. They’re the mark of someone who resents the expert’s authority and wants it for herself, only without the rigor.
Those who find conspiracy theories more important than evidence might enjoy this book. Those who resent and want to sneer at reputable, credentialed scholars might identify strongly with the author. But if you care about actual, verifiable truth, then you’ll be better off reading a lot of books that would bore or annoy Josephine Tey. show less
Unfortunately, I can’t share that view. The Daughter of Time, like The Da Vinci Code, delivers neither a convincing argument nor a good novel.
In fact, why is it a novel at all? It has no suspense, no ticking clock, and no present-day stakes for the detective protagonist other than amusing himself while recovering show more from an injury. But all that is beside the point for Josephine Tey, because the detective’s real purpose is to serve as a mouthpiece for the author’s views. Presenting those views through fiction lets the author get away with quite a lot, including a vicious campaign to discredit Thomas More, whose account of Richard III contradicts Tey’s thoroughly.
Others have taken apart the details; my objection is to the author’s method, which is sloppy at best and impervious to evidence at worst.
There’s a specific point where I gave up for good on Tey’s credibility. It comes in Chapter 10, when she examines the date Lord Hastings was beheaded. The characters deny Thomas More’s version of events, which they paraphrase thus: “Yes, according to the sainted More he was rushed down to the courtyard and beheaded on the nearest log.”
(I am highly skeptical that Tey summarizes More fairly here, especially since his name is repeatedly slimed in sarcasm as “the sainted More,” an epithet that appears 24 times in the book.) Tey rebuts him as follows:
“Rushed nothing,” said Carradine disgustedly. “He was beheaded a week later. There’s a contemporary letter about it that gives the date.”
Wait a second. When two sources conflict, doesn’t it require investigation to determine which of the two is correct? And shouldn’t this investigation begin with identifying what they both were? But Tey doesn’t think it matters who wrote that letter, or to whom, or what it says. Her evaluation begins and ends with noticing that it disagrees with More about the date of the beheading, and to her that’s enough to proclaim it canon and proclaim More discredited.
Once you notice this nakedly biased cherry-picking of sources and data, you have to wonder what else the author has left out. She is not reviewing the case with an even hand. She is choosing fictional storytelling as her medium to propagandize, and that permits her to twist and slant the story in whatever way suits her.
If she truly had the courage of her convictions, then why not publish a scholarly work of nonfiction so that the academic world can review it and possibly get behind it? She clearly wants us to believe that such a work would be not only possible but unassailable. But she just as clearly doesn’t expect historians to go along with it, so instead she delivers withering preemptive smears against historians — all historians, as such — that put her sneering at Thomas More to shame: “Honestly, I think historians are all mad” … “Grant wondered with what part of their brains historians reasoned” … “I’ll never again believe anything I read in a history book, as long as I live, so help me.” Broad-brush smears like these simply aren’t found in a respectable or a credible account. They’re the mark of someone who resents the expert’s authority and wants it for herself, only without the rigor.
Those who find conspiracy theories more important than evidence might enjoy this book. Those who resent and want to sneer at reputable, credentialed scholars might identify strongly with the author. But if you care about actual, verifiable truth, then you’ll be better off reading a lot of books that would bore or annoy Josephine Tey. show less
Just as delightful as all the reviewers and fans of Josephine Tey suggest it is, to follow Alan Grant's bed-bound investigation of the historical sources and what they fail to prove about Richard III's supposed murder of his young nephews, "the Princes in the Tower". I loved it. And I admire the way Tey used the "frame" of Grant being frustrated by inactivity, latching on to a portrait of Richard, bouncing from that to research aided by more-than-willing young American student who needs a thing of his own to pursue. Usually that kind of set-up dooms a book for me, or at least distracts immensely from the central mystery. But I actually enjoyed it in this case. My only quibble is that the American sounds rather British a lot of the time!
An original and stimulating concept: a bed-ridden Scotland Yard detective, climbing the walls of his hospital ward, becomes obsessed with one of the great historical controversies – the supposed villainy of Richard III (as popularised by none other than Shakespeare) and the murders of the Princes in the Tower.
It will not be for everyone, as the subject matter can be quite dry, but I suspect that it will be more to people's tastes than they might think, if they are willing to, well, think. By necessity, author Josephine Tey's book breaks the One Steve Limit, that storytelling rule of not having two characters with the same name (what with all its Edwards and Richards and Johns). It rewards application, and I find it ironic that readers show more of mystery books, who fancy themselves sleuths and pride themselves on guessing the killer before the end, might decry the fact that they have to pay close attention to the details here!
The Daughter of Time does, I'll grant, require some kindness from its readers. A man sat in bed, comparing the records of various history books and primary sources, and talking it all over with his research assistant, does not sound like the most stimulating read in a genre that is usually all parlour murders, smoking guns and dead hookers. Everyone that Grant, our detective, speaks to is improbably erudite on the matter of the Princes in the Tower, including the shift nurses. There is a distinct lack of action for the casual or sceptical reader, and the line "For the love of Mike find me a copy of Thomas More's history of Richard III" (pg. 55) reminded me of that much-derided line from The Da Vinci Code: "I have to get to a library, fast!"
That said, if you accept the improbability of the conceit, you will be well-rewarded. For all its imperfections, The Daughter of Time is a peculiar mix that might nowadays be pitched as Game of Thrones meets Making a Murderer. The rehabilitation of Richard III remains, almost seventy years after Tey's book, one of the bitterest of historical controversies, and Tey's revisionist text gets to the heart of why. Her detective is fascinated by the heinous murderer with the 'face of a saint' and the impeccable track record of sober and magnanimous governance: the idea that the man has been unfairly condemned (imprisoned, so to speak, for a crime he did not commit) is just as intriguing and dramatic for audiences as the salacious story of a power-mad infant-killer. The Daughter of Time didn't settle the controversy, but it did mine its enduring crowd-pleasing potential. show less
It will not be for everyone, as the subject matter can be quite dry, but I suspect that it will be more to people's tastes than they might think, if they are willing to, well, think. By necessity, author Josephine Tey's book breaks the One Steve Limit, that storytelling rule of not having two characters with the same name (what with all its Edwards and Richards and Johns). It rewards application, and I find it ironic that readers show more of mystery books, who fancy themselves sleuths and pride themselves on guessing the killer before the end, might decry the fact that they have to pay close attention to the details here!
The Daughter of Time does, I'll grant, require some kindness from its readers. A man sat in bed, comparing the records of various history books and primary sources, and talking it all over with his research assistant, does not sound like the most stimulating read in a genre that is usually all parlour murders, smoking guns and dead hookers. Everyone that Grant, our detective, speaks to is improbably erudite on the matter of the Princes in the Tower, including the shift nurses. There is a distinct lack of action for the casual or sceptical reader, and the line "For the love of Mike find me a copy of Thomas More's history of Richard III" (pg. 55) reminded me of that much-derided line from The Da Vinci Code: "I have to get to a library, fast!"
That said, if you accept the improbability of the conceit, you will be well-rewarded. For all its imperfections, The Daughter of Time is a peculiar mix that might nowadays be pitched as Game of Thrones meets Making a Murderer. The rehabilitation of Richard III remains, almost seventy years after Tey's book, one of the bitterest of historical controversies, and Tey's revisionist text gets to the heart of why. Her detective is fascinated by the heinous murderer with the 'face of a saint' and the impeccable track record of sober and magnanimous governance: the idea that the man has been unfairly condemned (imprisoned, so to speak, for a crime he did not commit) is just as intriguing and dramatic for audiences as the salacious story of a power-mad infant-killer. The Daughter of Time didn't settle the controversy, but it did mine its enduring crowd-pleasing potential. show less
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NOVEMBER Read - SPOILERS THREAD - Daughter of Time in The Green Dragon (July 2023)
NOVEMBER READ - NO SPOILERS - Daughter of Time in The Green Dragon (November 2014)
Author Information

50+ Works 19,995 Members
Josephine Tey is a pseudonym used by Elizabeth Mackintosh. She was born in 1896 in Inverness and died in 1952. She is a Scottish author best known for her mystery novels. She attended Inverness Royal Academy and then Anstey Physical Training College in Erdington, a suburb of Birmingham. She taught physical training at various schools in England show more and Scotland, but in 1926 she had to return to Inverness to care for her invalid father. There she began her career as a writer. In five of the mystery novels, the hero is Scotland Yard Inspector Alan Grant. The most famous of these is The Daughter of Time, in which Grant, laid up in hospital, has friends research reference books and contemporary documents so that he can puzzle out the mystery of whether King Richard III of England murdered his nephews, the Princes in the Tower. Grant comes to the firm conclusion that King Richard was totally innocent of the death of the Princes. In 1990, The Daughter of Time was selected by the British Crime Writers' Association as the greatest mystery novel of all time; The Franchise Affair was 11th on the same list of 100 books. (Bowker Author Biography) show less
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Awards and Honors
Distinctions
Notable Lists
Series
Belongs to Publisher Series
Work Relationships
Is contained in
Four, Five & Six by Tey: The Daughter of Time, The Singing Sands, A Shilling for Candles by Josephine Tey
Has the adaptation
Inspired
Common Knowledge
- Canonical title
- The Daughter of Time
- Original title
- The Daughter of Time
- Alternate titles*
- De misdaad van de bultenaar
- Original publication date
- 1951
- People/Characters
- Alan Grant (Inspector); Nurse Ingham (The Midget); Ella Darroll (The Amazon); Matron; Marta Hallard; Mrs Tinker (show all 22); Sergeant Williams; Brent Carradine; Atlanta Shergold; Madeleine March; Richard III, King of England; Edward IV, King of England; Edward V, King of England (as Edward, Prince of Wales); Richard, Duke of York (child); George, Duke of Clarence; Anne Neville, Queen Consort of England; Henry VII, King of England; John Morton, Bishop of Ely; Tanner; Evelyn Payne-Ellis (mentioned); Cuthbert Oliphant (Sir); Thomas More (Sir)
- Important places
- London, England, UK; England, UK
- Important events
- Wars of the Roses (1455-1485)
- Epigraph
- "Truth is the daughter of time."
(Sir Francis Bacon, Novum Organum, Book I, 84) - First words
- Grant lay on his high white cot and stared at the ceiling.
- Quotations
- You don't like to think of a man you've known and admired flung stripped and dangling across a pony like a dead animal.
A frisson of horror may go down one's spine at wholesale destruction but one's heart stays unmoved. A thousand people drowned in floods in China are news: a solitary child drowned in a pond is tragedy.
It was, moreover, the almost-respectable form of historical fiction which is merely history-with-conversation, so to speak. An imaginative biography rather than an imagined story. - Last words
- (Click to show. Warning: May contain spoilers.)"Funny," she said. "When you look at it for a little it's really quite a nice face, isn't it?"
- Original language
- English UK
- Canonical DDC/MDS
- 823.912
- Canonical LCC
- PR6025.A2547
*Some information comes from Common Knowledge in other languages. Click "Edit" for more information.
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- ISBNs
- 108
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