1754, John Rawlings (apothecary) and his friend Samuel Swann (goldsmith) have both finished their indentures. So to celebrate they off to the famous Vauxhall Gardens. Unfortunately for Rawlings he literally stumbles over a body. Thankfully John Fielding, Principal Justice of the Peace, believes him to be innocent and recruits him to investigate the crime.
An enjoyable mystery, with the added bonus of likeable characters. A good solid start to this series. ( )

Murder mystery set in London in about 1760. Quite entertaining in a mild way but a bit inoffensive and probably not a series worth pursuing. ( )

Rating: 3.75* of five

NINE instances of the reprehensible, revolting w-bomb. There's a contemptible sodden mess of a Duke portrayed as queer, and that sits badly with me. He is the object of epithetry as offensive as being called "faggot" to the ears of the day: "...a right Miss Molly," as a fellow Peer of the Realm calls him. Really? This book was written in 1995. The author couldn't be bothered not to make one of her suspects a stereotypical limp-wristed useless creature, who (in other offensive news) insists he's not queer and even places a beautiful whore under his "protection" to prove it?

‘I had no wish to wound you. Truth to tell, as Mr Rawlings already knows, I took Elizabeth on to prove to the world that I was a man and not the weak-kneed quean that all believed me to be.’

The Frenchman returned his glance with grudging admiration. ‘It must have cost you dear to say that. I appreciate your courage.'

...said the Real Man to the Faggot...I don't appreciate the author's appalling and insensitive portrayal of the Duke of Midhurst, period-appropriate that it may be.

The story was involving enough, though I knew who the murderer was early on (despite the fact that we next-to-never even *see* the criminal!), and the Use of Capitalization was a wee bit distracting (why are we expected to endure the twee use of "the Apothecary" and "the Blind Beak" for characters who have perfectly usable, uncomplicated names?), but the evocation of a long-dead London in the midst of great change was a true pleasure. Yes, problems exist that diminish my enjoyment of the book; I will still read the second installment, Death at the Beggar's Opera.

One more time on the unnecessary and noxious use of homophobia in place of character delineation, though, and I am out for good. ( )