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mde

Joanna Godden is such a wonderful novel, a VMC title which demonstrates perfectly why the VMC imprint has been so important. In this novel, Sheila Kaye-Smith gives voice to an extraordinary woman, who pulls valiantly against the conventions of her community. Joanna Godden is a very real woman, in her the author has created a character who is strong, flawed, loving and firmly wedded to the Sussex marshes where she lives.

As the novel opens it is 1897, it is the day of Joanna Godden’s father’s funeral. Joanna is twenty-three, her younger sister Ellen; just ten. Everybody in the nearby village or on the neighbouring farms think they know exactly what Joanna will be do now. Her father’s farm of Little Ansdore has been left to Joanna entirely – and someone will need to run it. It seems obvious to everyone that Joanna will marry, she’s a handsome young woman, and her father’s farm makes her a good catch. As, Joanna’s good friend Arthur Alce has been trying (and failing) to court her for years it seems the perfect solution. However, Joanna has other ideas, she has no immediate plans to marry – and sadly for Arthur, Joanna makes it clear she won’t marry him, and more importantly she intends to run her father’s farm herself, she is full of ideas, passionate about the land. Joanna defies convention and raises more than a few eyebrows – and not all her ideas are successful.

“She forgot her distrust of the night air in all her misery of throbbing head and heart, and flung back the casement, so that the soft marsh wind came in, with rain upon it, and her tears were mingled with the tears of night. ‘Oh God!’ she moaned to herself – ‘why didn’t you make me a man?””

 

She works hard to make the farm a success – increasing its worth – and putting money in the bank. She invites plenty of comment with her smart, eye-catching costumes and newly painted cart. The men gather in the nearby hostelry and discuss all the latest news from Little Ansdore – they tell their wives when they get home – but Joanna rather thrives on the attention and quite enjoys thinking about everyone discussing her.

As well as running her farm, Joanna must also raise her sister Ellen. She’s not above clipping her round the ear, indulging in a sisterly screaming match or hauling the shrieking ten-year old under her arm and carting her off in front of a startled tea guests. Though as Ellen begins to grow, Joanna wants more for her, to make a lady of her, and now that she has the money – she decides to send Ellen away to school. The Ellen who returns to Joanna during the holidays is a changed girl – and in time the differences between Joanna and her little sister begin to tell.

In matters of the heart Joanna judges poorly sometimes, her heart very much ruling her head. When she first takes over the farm, she employs a ‘looker’ the man she employs is physically the kind of man she finds attractive. It is unthinkable that a farm owner would pursue a relationship with her ‘looker’ and Joanna doesn’t really intend to – but as Socknersh is bad at his job, Joanna’s preference is noted and talked about. Joanna nearly makes a fool of herself.

“Over the eastern rim of the Marsh the moon had risen, a red, lightless disk, while the sun, red and lightless too, hung in the west above Rye Hill. The sun and the moon looked at each other across the marsh, and midway between them, in the spell of their flushed, haunted glow, stood Socknersh, big and stooping, like some lonely beast of the earth and night…. A strange fear touched Joanna – she tottered, and his arm came out to save her…”

Joanna will fall in love for real, her enormous appetite for life making her throw herself whole heartedly into every life experience. But with everything she does, Joanna’s traditionalism, religion and love of the land drives her forward.

joannagoddenThe years pass, Ellen makes some terrible choices that really test Joanna. Joanna knows sadness, loss and great achievement – she never stops being a favourite topic of local conversation. There comes a day when Joanna, older, but possibly no wiser – acts against her own character, she remains unconventional making decisions for herself that are right for her – no matter what anyone else thinks.

Joanna Godden was one of those books I was sad to finish – a strong sense of place and one of the most heroic country heroines I have ever read about. This was the first novel I have read by Sheila Kaye-Smith so I am looking to reading Susan Spray – by the same author that I have tbr.

Tales from the tbr

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Predictably, I have been buying books again – although there are extenuating circumstances (ok there aren’t). Part of my problem is my absolute obsession with my A Century of Books. Originally, I had said I would be doing it over two years, but I now would rather like to finish it in a year. It will be tight – but I might be able to do it!

I have hit a major milestone – halfway and it isn’t even the end of June yet. 50 books down and 50 to go. You can see everything I have read so far hereI have actually read 60 books so far in 2018, so there have been some duplicates, and I know I will be reading more duplicate years.

So, having examined my tbr spreadsheet – invaluable when doing ACOB – I realised I had quite a few gaps. It’s funny how out of more than 260 books one can have six titles for 1950 but absolutely none for 2010. So, I valiantly went online book shopping and filled in all the gaps I had. Some books were bought second hand – others I bought for my kindle – I often buy more modern titles and certain non-fiction on kindle as they are often the books I am less likely to keep.

I bought:

The Seventh Cross by Anna Seghers – 1942 – originally published during the war this novel has recently been re-issued by Virago – and I am hearing great things about it.

Excellent Intentions – Richard Hull – 1938 a BLCC title that I have already seen very good reports about, and a new author to me.

Basil Street Blues – Michael Holroyd – 1999 A biography of a biographer – described on the back as being part detective story, part family saga, and a voyage of self-discovery.

The Queen of the Tambourine – Jane Gardam – 1991 I really haven’t read enough Gardam, and this sounds deeply charming.

The Complete stories of Muriel Spark – not for ACOB but needed for#ReadingMuriel2018 – and I’ve ordered some essays which haven’t yet arrived.

And for my kindle:

The Welsh Girl – Peter Ho Davies 2007 – A novel I have seen some great reports of, had had meant to read back when it first came out.

The Human Factor – Graham Greene 1978 I have meant to read more Greene for ages.

Educating Alice – Alice Steinbach 2004 – a book about learning and travelling, chronicling the author’s European journey of self-discovery.

How the Girl Guides won the War – Jane Hampton 2010 – is pretty much about what it says on the tin (cover) and it sounds fascinating.

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If that mighty haul wasn’t enough – I succumbed to the book people’s offer on a set of A A Milne books. I have been meaning to read his adult books for years, and this was the perfect opportunity. At the weekend I gobbled up the first of them, Four Days’ Wonder – such joyful, bright, breezy fun.

So yes, I have gone a bit mad. I am going to try and not buy any more books till the end of the summer, otherwise I will be finishing the year on the same number of books as I started with, which really wasn’t the idea.

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Like The Hothouse on the East River – the last Muriel Spark novel I read – in The Takeover we find ourselves far from our more familiar London setting of many earlier Spark novels. The Driver’s Seat, another 1970s Spark novel that I read last year – was also set abroad, I wonder if this was a deliberate departure for Muriel Spark at this time, perhaps she had tired a little of writing about London and wanted to do something different. Wherever she was writing about, her sense of place is so good – her ability to create an atmosphere no doubt due to her knowledge of the places she was writing about, and she knew Italy well having lived in Rome and Tuscany. For in The Takeover we are in Italy, the shores of Lake Nemi, the resting place of the spirit of the Goddess Diana.As you can see above, I was a long way from Italy while I was reading The Takeover, but I was able to spend a bit of time in the sun.

The Takeover is a novel of some subtlety, and one that is hard to pin down – what exactly was Spark saying with this novel? It is a novel about money – among other things – it is rich in absurdity and cynicism, and the characters are all pretty horrible – and yet it is still an enjoyable read.

“How do you know when you’re in love?’ she said.
‘The traffic improves and the cost of living seems to be very low.”

Overlooking Lake Nemi, are three villas, owned by wealthy American Maggie Radcliffe, who has recently married for a third time. One Villa is occupied by Maggie’s son Michael and his young wife Mary. The second villa is rented by a rich Italian, Bernardini, his girlfriend Nancy Cowan, his son’s tutor. His son Pietro, his daughter Letizia, also live here, and the family have spent a lot of their own money on improvements to the villa. The third villa, the one with the best view, is inhabited by Englishman Hubert Mallindaine, and his secretary Pauline Thin. Maggie has loaned Hubert the Villa, he hasn’t paid a penny to her in rent – and is now refusing to leave. It is Hubert and this third villa that is the centre of all the trouble. Hubert is a sneaky, crook, self-serving and completely without conscience.

“Hubert had been uneasy about his position, really, for many years more than he now admitted when he thought or spoke of Maggie. ‘Like any other spoilt moneybags she used me when she needed me and then suddenly told me to go, to clear out of her house and her life. All my projects were based on her promises. We had an understanding…’ So he dramatised it in a nutshell, first to himself, then later, to Pauline Thin.”

However, it seems that Maggie is surrounded by people who want to swindle her or steal from her.

Maggie and her husband – leave Nemi, travelling to various glamorous sounding locations – Maggie leaves Hubert in no doubt though that she expects him to leave her property – even giving him a date by which she expects him to vacate. Hubert has other ideas.

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Having grown up with some rather odd ideas from a couple of aunts, Hubert seems to be perfectly convinced that he is directly descended from the Goddess Diana. I got the feeling that this belief – like so much about Hubert is entirely bogus – and merely serves to get him what he wants. He establishes a religious cult, surrounding himself with people looking for free love. Hubert claims he has a divine right to the house because of its location. As well as Pauline, Hubert is visited by several gay, former secretaries – and two Jesuit priests who seems always to go everywhere as a pair.

We see Maggie, living in various other locations, with her husband who appears to be a fairly weak character, he tells Maggie to get rid of Hubert but does nothing himself to help her achieve this. Hubert is quite clearly hanging on in there, the absurdly complicated Italian property laws seems to be on his side. Unknown to Maggie, Hubert is busy having her Louis XVI chairs and Gaugin painting copied – pocketing the money he makes from the sales. Meanwhile Lauro, is a servant of Maggie’s – he previously worked for Hubert – but he too is after what he can get. Both Maggie and her daughter-in-law Mary are drawn into sexual intrigue with Lauro – and everything begins to get very complicated. Maggie suffers the loss of her jewels, and in time the battle to get her villa back begins to cost her a huge amount of money. Money, she must find a way of getting back. All this is set to a back drop of the changing economic climate of the 1970s, – the action taking place between 1973 and 1975.

This is a strange, sophisticated novel with a very 70s feel to it. There are so many layers to it, with themes of fakery, wealth, religion and corruption. It is as ever very readable.

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Can there be, for the dedicated Persephone reader, a more marvellous thing than a new Whipple? Like many other Persephone readers; I was very excited when I heard there was to be a new, and sadly a last Whipple.

Young Anne first published in 1927 was Dorothy Whipple’s debut novel. With its Persephone release all of Dorothy Whipple’s books are finally back in print – why they remained out of print so long is a mystery. I envy those readers who have yet to discover Dorothy Whipple – though I will have the joy of re-reading them all.

There is no great drama in this novel – it is the story of life – Whipple’s characterisation absolutely drives this novel – which is still enormously compelling, told with huge compassion.

“How changed he was! How assured! A man of the world, this George, who had once been poor, bitter, crude. How changed they both were…”

Dorothy Whipple’s first novel – published when she was in her thirties – was very autobiographical. We follow the growth, education, life and loves of Anne Pritchard from the time she is just five years old through to a time when she is finally settled. We first meet young Anne sat in the church pew alongside the rest of her Lancastrian family, her middle-class parents, and brothers Gerald and Philip. Mr Pritchard is a stern, inflexible presence throughout Anne’s childhood – he stops short of being a bully, but his unsmiling, traditionalism feels quite suffocating.

“‘Anne, go back to bed at once!’
‘But I’m frickened,’ she whimpered, holding her cold toes in her hands to warm them.
‘What on earth is there to be frightened of? Asked her father impatiently.
‘There’s all sorts of things looking at me,’ she wailed. ‘Weary Willie and Tired Tim and things.’
‘Olive!’ Henry Pritchard protested angrily to the recumbent figure of his wife, ‘I absolutely forbid you to let the children have those vulgar comic papers.’”

Anne is instantly lovable, and thankfully not perfect – perfect children are not all that attractive. For Anne, the most important member of the household is Emily, the maid – who shows Anne such love that she becomes an alternative mother figure to the child – destined to follow her through life wherever she goes.

As a little girl Anne goes to a local school run by a couple of middle aged sisters. According to the wonderful preface by Lucy Mangan, this is one of the things in the novel that mirrors Dorothy Whipple’s own life. The school is closed when one sister dies suddenly – from starvation – it seemed that no one had realised they had no money for food.

In this novel Whipple’s peripheral characters are of equal importance, fully fleshed out they have a lot to tell us about the society that Dorothy Whipple was writing about. Whipple is always particularly clear sighted about societal differences – those petty snobberies and tender feelings that come between people when class rears its ugly head. Even as a quite tiny girl Anne recognises something in George Yates that is different – she hasn’t yet learned about class distinction – but she soon will. It is Mildred Yates – a child Anne rather admires – who makes it quite clear to Anne that her cousin George’s social position is not the same as hers. Mildred is a wonderful creation – even as a child she is something of a horror. Another superb creation is Vera Bowden Anne’s much older cousin, a pretty, unhappily married woman who loves to flirt with other men to make her disappointing life more bearable.

Anne’s parents decide to send her to a Catholic convent school as a day girl, she is practically the only protestant pupil, but soon learns to appreciate the kindly sisters and comes to enjoy her time there. As a very young woman Anne finds love and loses it, too young perhaps to fully understand the nuances and complexities of relationships. It is a love that she will not entirely shake off – later the past will return to threaten a fragile happiness.

A change in family circumstances means Anne must go to live with her dreadful Aunt Orchard soon after completing her education, the grimness of this is relieved by the faithful presence of Emily – who goes too – not forgetting the black kitten Onions. Aunt Orchard is a magnificently dreadful creation, petty, selfish and prone to extreme rages – her house is no kind of home to Anne – who hits upon the idea of a secretarial college course – to get herself out the house and secure some independence. Emily continues to be the most wonderful support she will endure almost anything for Anne’s sake, her slanging matches with Aunt Orchard are quite hilarious. She even loans Anne the money for her course.

“She thought with satisfaction how her position in the house had eased since she had been able to hand over fifteen shillings a week out of her salary, now twenty-five shillings, and make up what she considered the deficiency in mending and aspidistra washing and putting up with Aunt Orchard generally. The bread of dependence had been very bitter.”

We see Anne earn her first pay packet, make decisions for herself, enter into a more grown up (dare I say less romantic) relationship. By the time we leave Anne – she has changed – made mistakes and learned from them. In Anne, Whipple has created a realistically flawed young woman, one who we sympathise with and like enormously despite her faults.

I absolutely loved Young Anne – what a fabulous debut it was back in 1927 – and what a wonderful high for Persephone to complete their Whipple re-issues with.

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I continue to read quite a lot of short stories, and this is another fairly large collection that I dipped in and out of over the course of about three weeks. I recently bought this pretty new VMC anniversary edition of Collected Grace Paley stories, only to get home and realise I already had the book. The other edition was such a physically different book that it hadn’t rung a bell with me at all. It’s not the first time I have bought a book I already have, the perils of a large tbr!

This collection brings together the stories of three previously published collections into one volume: – The Little Disturbances of Man (1959)
Enormous Changes at the Last Minute (1974) and Later the Same Day (1985).

Grace Paley’s stories are of the world she knew well, the noisy vibrant neighbourhoods of New York city. She writes in a style which can take some getting used to, a sort of stream of consciousness style – lots of dialogue and no speech marks. Often in the vernacular of her city, the voices of her characters are loud, insistent, and hard to ignore. Paley has an ear for voices – and she recreates them with great authenticity and affection.

The collection opens with Goodbye and Good Luck and seems to be a letter written from a woman to a much younger female relative. Rose explains her long-term relationship with a Russian actor who she met while working in a New York theatre. She spends her life loving this man she can’t have – turning down other marriage proposals, waiting. One day he does return, years have passed, times have changed. As Rose, who is now firmly in middle age, ends her letter she is about the embark on a new life with the love of her life.

One character we meet in many stories is Faith Darwin – a woman at the heart of the New York Jewish community. She’s a typical Paley heroine. In the earlier stories Faith is a young mother, her husband is absent, and she is rooted in her urban community. In Faith in a Tree we find Faith suspended above the children’s playground in a Sycamore tree contemplating the children of her neighbours as well as her own. In Conversation with my Father – Faith has become a writer, and her father tells her he would like her to write a simple story just once more, the kind of story Maupassant or Checkov might write. In Dreamer in a Dead Language Faith visits her ageing parents in a Jewish retirement home. Here, Faith is drawn into the lives of the other residents, knitting is undertaken, ailments discussed, advice given.

“The boys are down playing Ping-Pong with Mrs Reis. She kindly invited them. Faith, what is it? You look black, her mother said.
Breathless, Mr Darwin gasped, Crazy, crazy like Sylvia, your crazy sister.
Oh her. Mrs Darwin laughed, but took Faith’s hand and pressed it to her cheek. What’s the trouble, Faith? Oh yes, you are something like Sylvie. A temper. Oh, she had life to her. My Poor Syl, she had zest. She died in front of the television set. She didn’t miss a trick.
Oh, Ma, who cares what happened to Sylvie?”
(Dreamer in a Dead Language)

Through these and other stories we see Faith grow, meet her friends and family watch her raise her children. There is often little plot in these stories, but Paley recreates an entire world. There’s a wonderful spirit in Faith, she is ever an optimist, loves her children and her community – and is constantly evolving.

In other stories Paley writes of politics, and we hear voices raised in protest. There are absent fathers, lovers and friends. We meet the mothers of the neighbourhood playgrounds, she introduces them in typical Paley fashion.

“When I went to the Playground in the afternoon I met eleven unwed mothers on relief. Only four of them were whores, the rest of them were unwed on principle or because some creep had ditched them.”
(Northeast Playground)

grace paley storiesIn one story a woman runs into her former husband and they sneak off together to make love. A boy is killed in a sudden senseless accident while messing around on the trains with his friends, in Samuel. In Friends a group of women friends who first knew one another when their children were young visit a dying friend, and travel home together afterwards. An elderly couple raise the child of their mentally ill daughter, while an elderly pharmacist is forced to face up to his own past racism in Zagrowsky Tells – which was one of my favourite stories. The voices are strong, their stories those of any city – and yet also, they seem particularly the stories of New York.

In these stories Grace Paley is funny, wise and frequently angry – she understands life in all its difficulties and her characters are very real. There is a rhythm and inventiveness in Paley’s use of language. There is a sort of aural quality to Paley’s stories, from the lilt of the Yiddish spoken by many characters, to the rattle of subways trains, the voices of children playing in city playgrounds – the laughter and protest of people living in close proximity.

 

 

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The Persephone mini readathon seems a long time ago already, the second book I read during my own slightly longer Persephone readathon was The Carlyles at Home. This is an earlier Persephone book that I had managed to completely overlook until recently.

Written in the 1960s, it portrays the home life of writer and philosopher Thomas Carlyle and his wife, during the thirty odd years they lived at Cheyne Row in Chelsea. Thea Holme; the author, wrote it while she and her husband were living in the house as custodians. She confines herself to everyday matters in the Carlyles lives, staying well away from the nature of the Carlyles marriage for example, Thomas Carlyle’s work is mentioned almost in passing. Small domestic concerns, problems with servants, home improvements and noise from neighbours. Each of the eleven chapters focus on a different aspect of the Carlyles lives at Cheyne Row.

Of the two Carlyles, it is Jane we get to know best through this book, though even she remains a little enigmatic. The house in Cheyne Row where she and her husband lived emerges as the third character in this lovely little book and those with an interest in houses will love it. The endpapers for this Persephone edition shows a detail from a Chelsea interior by Robert Tait and depicts the largest room on the ground floor of the house with Thomas and Jane in situ.

It was in 1834 that Thomas and Jane Carlyle moved into the house on Cheyne Row in Chelsea, and it wasn’t until after his wife’s death in 1866 that Thomas Carlyle left. The Carlyles had originated from Scotland, and Chelsea, though not quite so fashionable then, as it was to become, had houses that Thomas had declared to be cheap and excellent. We first encounter the couple as they await the Pickfords van, accompanied by their maid Bessie, they are obliged to eat their first meal there off the top of a box lid covered with a towel.

“But after two days of picnicking, with carpenters and bell hangers finishing their work, and pieces of furniture broken on the journey from Scotland being mended, at last the house was cleared of workmen and the floors could be swept; the carpets were laid – nailed down by Jane herself – the heavy curtains from Craigenputtock, altered to fit the London windows, were hung on their brass rods; the books were sorted and housed, and Carlyle was settled into his library on the first floor with his writing table and one of the horsehair dining chairs to start work as soon as he pleased.”

We meet the succession of maids who come to Cheyne Row to work for the Carlyles, they are a colourful bunch, and Jane seemed to have had quite a close relationship with a couple of them. There’s the maid who gives birth in the china closet, the maid who is found passed out drunk on the floor, another becomes a trusted member of the household – almost part of the family. These domestic concerns were more Jane’s remit than Thomas’s, but it seems Jane also took a good deal of responsibility for matters of finance – which must have been a bit unusual during the Victorian period. Jane was also concerned with allowing Thomas the time, space and peace in which to work.

“A cock crowing in the small hours woke him instantly: he would thump his bed in wrath, then jump up and pace the room, waiting furiously for the next crow, which would sometimes drive him out of the house, to walk about the streets till morning.”

Noise was a constant battle – Thomas Carlyle had a mania for quiet and found himself easily disturbed. Cockerels seem to have been popular in Chelsea at this time, and Thomas Carlyle was driven to distraction by their early morning cries, what with them and neighbours’ daughters who practise piano – Jane is forced to write polite notes to their Chelsea neighbours which appear to have been received in good part.

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The constant search for quiet prompted at least some of the house renovations that took place during these years. Here too, Jane was generally left to superintend the dreadful upheaval while her husband would take himself off – often to Scotland – to escape the noise. One of the projects undertaken was an attic study – a room that should be completely cut off from all noise.

Aside from all these mini domestic dramas there are lots of period details about money, food and clothing. Jane is forced to go to a ball décolleté and is horrified at the thought of all that flesh on show – though finally she is rather charmed at how good she looks. Even the servants wear bustles which must be accommodated – all of which does get a bit difficult when moving around.

Jane it appears was an extremely good manager of money – she never wasted money on herself – and has to carefully instruct her husband on the mysteries of housekeeping money. Thomas Carlyle comes across as complaining and petty – a difficult man to live with I suspect. Whether this view of Jane Carlyle is a little romanticised or not I couldn’t tell as I knew nothing about her before reading this. She emerges as the stronger more capable of the two.

The Carlyles at Home is a social history of Victorian life in Chelsea but is also a wonderful introduction to an interesting and enigmatic couple, about whom people have long speculated.

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Between the 1930s and the late 1960s Francis Durbridge was a prolific writer of mystery novels and plays for both TV and radio. He would have been a famous name back in the 1940s and 50s, and his detective novels featuring Paul Temple were widely read. I have yet to read any Paul Temple novels, though I did read The Other Man, one of Durbridge’s other standalone novels – well I was going to say a couple of years ago – I just checked, it was five years ago! So, with lots of Bello books still unread on my kindle from my Bello splurge of a few years ago, I decided to read My Wife Melissa for the 1967 slot in my ACOB.

There are lots of questions in this little 60s mystery, the main one being who killed Melissa? Who was it called her husband Guy an hour after she had died doing a very good impersonation of her?

When Guy arrives home on the night of his wife’s death, he finds her preparing to go out with two of their friends Paula and Felix, another enormous hat box sitting in the hall.

“It was one of those whimsical things in gold and crimson stripes, all tied up with a colossal silk bow; there was no price-tag on it, of course, but with a sinking heart I mentally deducted another twenty guineas from the not very rosy level of our joint bank account. Melissa was a sucker for new hats. It sometimes seemed to me, the longer I was out of work, the more fancy hats she bought though heaven alone knew what she did with them; she hardly ever wore them. “My Love in her attire doth show her wit,” wrote the poet, “For every season she hath dressings fit”. That was Melissa all right.”

Guy Foster is a writer – a struggling writer would be more appropriate. Coming home that day, Guy has no wish to go out. Following a non-too serious tiff, it seems Melissa is happy to go without him and Guy is happy to let her – he will have uninterrupted hours to himself in which to work. Melissa, Felix and Paula head out to racing driver Don Page’s birthday party, and Guy never sees his wife alive again.

mdeLater in the evening Guy receives a phone call from Melissa – only it is soon apparent that Melissa had been dead at least an hour when the call was made, she had been strangled. Guy is immediately put under suspicion by Inspector Cameron – an eminently sensible man, who we suspect won’t have the wool pulled over his eyes too easily. Inspector Cameron finds a piece of paper in Melissa’s bag with the name of a doctor on it – Dr Norman Swanson of Wimpole Street. Guy claims never to have heard of him, to have no knowledge of his wife consulting Dr Swanson. He is stunned therefore, when Inspector Cameron informs him that he – Guy – is well remembered by both Dr Swanson and his secretary following his recent consultation two weeks earlier. What on earth can it all mean?

Guy can’t rest, he must try and find out what is going on. Talking with Don, Felix and Paula about Melissa and the time before her death, Guy starts to find out things he didn’t know – which puzzle him further and makes him wonder how well he knew his wife.

Later another young woman is found murdered in Guy’s remote little cottage, Guy discovers her body following another hushed phone call late at night, again sounding just like Melissa.

“I went into the kitchen, and a split second later wished that I had not done so wished with all the futile intensity we summon up at such moments, when we pray desperately for the power to put the clock back. But it was too late. The girl in the old wicker chair was dead, and I was there, staring at her, instead of being safely tucked up in my bed in my London flat. There was no putting the clock back.”

Unfortunately, the young woman is someone Guy was seen talking to earlier that day as he tried to find out more about the secrets Melissa seemed to have been keeping.

This was an enjoyable quick read – it really seemed to end ever so quickly, but then I read it while I was ill, and sleeping badly, so I possibly just flew through it. The mystery itself is a good one, there are few people in the frame so to speak, so perfectly possible to guess at least part of the mystery.

“Slowly, I reached out and pulled the window shut. As I turned I sensed that someone was in the darkened room with me. I could see and hear nothing, but I could feel the alien presence. I began to inch towards the lamp on my desk, next to Melissa’s picture. The long curtains behind the desk rustled over my shoulders as I bent to snap on the light. A gun stabbed my spine, the muzzle softened by the curtains, and a voice whispered: “No light!” “

Regular readers may know that two things lift a book above the ordinary for me, depth of character and a strong sense of place – I felt this book lacked both these things – not surprisingly it isn’t that kind of narrative, Durbridge is not that kind of writer. Still, the plot zips along at a cracking pace, making it a novel the reader can’t help but fly through. What Durbridge does do really well is to set a scene (the playwright in him no doubt) and to reproduce a sense of threat and unease.