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She had written many crime novels, often showing an acute sense of psychology and sexual psycho-pathology. However, despite all the accolades and awards, Ruth Rendell did not feel that her imagination was being given full rein.
She felt the need to set herself a new challenge, and to explore another side of her writing personality. Yes, she may have written many accomplished police procedurals and twisted psychological novels, but she felt the need to explore a third, slightly different slant for her psychological thrillers.
She set the bar even higher, perhaps because the critics had never really rated her work as literary fiction, although she had an immense readership. She was urged to go beyond the whodunit and even the psychological questions she dealt with, of how and why a criminal was made.
Now she needed to address how ordinary people dealt with the skeletons in their cupboard, and what might happen when secrets, which had been buried in their past, came out into the light. These were to be a different kind of novel to the ones Ruth Rendell had given us previously, but they quickly began to rival the sales and public acclaim of her earlier work, and were also adapted for television. Barbara Vine was here to stay. Ruth Rendell favoured using twisting plots to expose twisted minds.
Except for the Inspector Wexford novels, she usually offered close-ups of psychopaths in the making. In the context of the novel, the title refers to Faith's ability, after many years, to examine and analyze her family's history and its tragedy. From Wikipedia, the free encyclopedia.
This article is about the crime novel. For the music album, see Dark Adapted Eye. This article needs additional citations for verification.
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