One of Whitney's earlier publications, this one still has the intricate plotting and surprises that are missing in her later titles.  Conversely, it's one of the less evocatively atmospheric of hers I've read so far.  

The thing a reader has to accept about Whitney is that her whole raison d'être in writing was to thrust heroines into the most unwelcome home she could imagine and have her persevere in spite of all stumbling blocks.  It's formulaic, definitely, but each of her earlier novels becomes unique in the setting, the secrets and the mystery.

Silverhill absolutely fits the Whitney formula, and it made me a bit impatient at the start as all the usual hurdles, cruelty and heartache were presented along with the future insta-love (these books were written in the 50's and 60's when apparently if it took you longer than 48 hours to decide you'd met your One True Love, you might as well not bother).

But one all of that was gotten through, the story was a surprise.  I thought I knew where it was going, and I was sort of right, but the salient detail of the whole thing blindsided me when it was revealed.  So much karma getting doled out to everyone.  And, of course, a happy ending for our heroine.

When a good Whitney comes along, they are a pure indulgence to a much more innocent, yet horrific, form of story telling for readers who like their suspense served in tandem with romance, and a touch of gothic for garnish.

Wow, can Whitney be verbose.  Her earlier work has always been better, in my opinion, but this one was an in-between - first published in 1974.  Which makes the plotting excellent, and the abuse of the expository extreme.  Unfortunately the expository gauntlet must be run for many chapters before a hint of the rewarding plot can be found.

I'm undecided on whether it's worth the effort.  The plotting was very well done.  I was absolutely certain I knew who the villain was right up until almost the end, when she convinced me I was wrong, that it was really .... and then she blindsided me with the solution that was just unexpected.  Whitney got huge bonus points for stunning me, but I'm not sure how I actually feel about it as a legitimate ending.  It works, but it feels like it shouldn't.

The characters, and the romance, were, as is typical with both Whitney's writing and the time she wrote in, dramatic and overly simplified.  Insta-love has nothing on romantic suspense from the 70's; and characters' personalities are never subtle or nuanced.  If you accept this as the style of its time, it's not an insurmountable problem.

The one thing Whitney never lost, no matter how many books she wrote, was her sense of place.  I'm not sure I've ever read anybody better at putting the reader in whatever setting she wants them, and making them feel like they were there.  Here the deserts of New Mexico are the backdrop, and though I've never in my life seen an adobe house, I feel like I've lived in one the last couple of days.

I'd neither recommend it nor deter anyone from this one; the exposition is a challenge, but if that slow build isn't a deterrent, the story is one of her more complicated and compelling ones.

I read this for the Romantic Suspense square (which is on my card is the Psych square that's been flipped), for Halloween Bingo 2020.

Like a lot of other authors who write romantic suspense, Whitney was very hit and miss.  Most of the misses I've read are the ones she wrote in her later years, and this isn't an exception.  The woman could still write well - her island setting came alive - but the plot was soft and sentimental, and the resolution was not a resolution at all.  In fact it was completely unrealistic, unless the poor dead woman meant less than nothing to her family.

I would never put a book willingly to harm, but this is one of those books I would like to put into a meat grinder, just to see it getting shredded to pulp. I really disliked this book.

Oh great...