Rendell/Vine's technique of bringing two disturbed characters together at the climax of a suspense novel, seen in The Bridesmaid (1989), has modulated in Gallowglass into an overt comparison between the normal and the disturbed.
The abnormal sexual patterns she has hinted at in several previous novels, like the experimental relationship between two women in The House of Stairs (although both characters claim it is not a lesbian affair), is limited in Gallowglass to the mildly incestuous overtones of Tilly's choice.....
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