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Elizabeth Peters' early standalone novel, the Camelot Caper, attracted me with its promise of an Arthurian theme. While there was just enough of Arthur to satisfy me, I was quite delighted to discover that this novel was very reminiscent in tone, plot and characterisation of one of my favourite childhood authors, Mary Stewart.

This novel, like many of Stewart's, is a sort of romantic suspense adventure built around a female protagonist who is neither weak nor stupid, although occasionally young and a touch naive. I'm not sure if anyone writes these any more - an everywoman who confronts some kind of unexpected danger, and who finds along the way a romance with a man who is not so much a saviour as a partner, who shares the mystery and the danger, but needs as much help as he gives. Wikipedia describes Stewart as "... a British novelist who developed the romantic mystery genre, featuring smart, adventurous heroines who could hold their own in dangerous situations." And that's very much the genre that The Camelot Caper falls into.

The protagonist is a young American woman, Jessica Tregarth, visiting Britain for the first time at the behest of a dying grandfather. Her own father, who died when she was young, had been long estranged from his family, but had kept a family heirloom, a not very valuable man's ring, which Jessica's grandfather had asked her to bring with her.

The mystery begins when Jessica realises that someone else wants to get the ring before she can take it to her grandfather, and seems prepared to go to some lengths to get it. Fleeing from the two men pursuing her, she meets David, a writer of romantic mysteries, who at first thinks her story is part of a practical joke cooked up by his friends, but who is soon drawn into the mystery and offers his help in getting her safely to her grandfather in Cornwall.

The Arthurian connection comes in through the belief of the grandfather that their family is descended from a bastard son of Arthur's. His conviction that there are remnants of an Arthurian fortress, perhaps Camelot itself, on the family land has nearly bankrupted the family with repeated archeological excavations.

Along the twisty path to Cornwall, Peters also treats us to visits to a number of historical churches, and of course a stop at Glastonbury, as Jessica and David chase, and are chased in turn - and captured on several occasions - by the two mysterious men.

There are no red herrings here - the resolution of the mystery is directly connected to the ring, the excavations, the bankruptcy and the ancient legend, in a satisfying way. The romance is handled lightly, growing slowly as Jessica and David manage to figure out the connections, escape their captors, and set things right.

In The Camelot Caper, Peters has written a fine example of a possibly dated but nonetheless enjoyable genre.

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