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When a man is found dead in a quaint English village, Inspector Hannasyde must unravel the secrets of the eccentric family involved. In DEATH IN THE STOCKS (1935), a beloved classic, Georgette Heyer infuses the traditional mystery with her signature style of historical romance (and its Regency romance sub-genre).

Reflect: Check out the conversation starters below.

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Jennifer Kloester is the bestselling author of Georgette Heyer’s Regency World, Georgette Heyer: Biography of a Bestseller, and Society The Novels of Georgette Heyer: A Celebration.

Jennifer is a Patroness of the International Heyer, and a producer of the forthcoming documentary Who the Hell is Georgette Heyer?

She is also a popular presenter and public speaker and, in 2015, with Stephen Fry, she was delighted to speak at the unveiling of Georgette Heyer’s English Heritage Blue Plaque in Wimbledon.

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Finding the Romance

Kenneth and Antonia both start the book engaged, and spend most of the book engaged, to people they don’t like and no one else likes. Took a bit to find where the romance would be emerging from in the story. Carolyn particularly enjoyed Tony’s “sorry not sorry” breakup with Rudolph (336).

Kenneth and Antonia Vereker

Death in the Stocks by Georgette Heyer includes interesting and unique characterizations of people who say exactly what they’re thinking, without malice. The siblings in particular seem to have a hard time relating to social niceties or expectations. They are both wholly lacking in tact and, at times, human feeling and good sense. They have zero interest in their half-brother’s murder (other than the 250,000€ inheritance coming Kenneth’s way) and couldn’t care less who killed him .

Hannasyde, the voice of reason, says that Tony “doesn’t appear to conceal a thing. It’s the same with her brother: you don’t know whether they’re very clever, or completely innocent, or a pair of lunatics” (170). At one point, Hannasyde wishes he could convict both siblings for murder. Charles Carrington refers to the siblings as “those Vereker brats” (177).

Hannasyde to Kenneth in reference to Roger’s death: “You have reminded me yourself that I am not a Vereker. I don’t joke on such matters.”

Kenneth: ‘These hands … are worth more than all Arnold’s filthy money, and when he’s been forgotten for centuries people will still be talking about me!” (103)

Kenneth and Antonia live in a home “decorated in a modernist style, with curtains and a carpet of cubist design.” Giles refers to the upper-crust bohemian Kenneth as “looking like a third-rate artist from Chelsea” (95) and says he hates his “effeminate tie.” It’s the Great Depression (1929-1939), but they seem to be doing just fine. Are these siblings modern? Are they rebels who reject traditional moral principles?

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