Tag: a kiss before dying

Somebody’s Watching Me

A month or so ago, Ira Levin’s A Kiss Before Dying was one of those “special deals for ebooks,” and I can never pass up a classic for a mere $1.99 (I generally replace my hard copy books with ebooks when they are on sale, so I can donate the real book; but Ira Levin novels will never be donated), which put me in mind of him again (the book is a crime fiction classic), and I started thinking about what is the best part of two of my favorites by him, Rosemary’s Baby and The Stepford Wives, which is the slow build of paranoia until the heroines are completely convinced that everyone is in on it and there’s no one she can trust. This is what I consider “women’s noir,” which is books that depict and explore women’s fears (which is why Gothics were so popular, I think; the wife can never trust the husband and always thinks he is trying to kill her–before the real culprit is exposed and they have their happily ever after. This, to me, mimics what it’s like for a woman when she gets married in real life; she wants to believe in her marriage and love, but how many times has that turned to ashes and dust in reality? Husbands kill wives or cheat on them or leave them; all these marriage fears were tentpoles of Gothics). I was going to revisit both novels–I had some other things I wanted to talk about with The Stepford Wives, and its similarities to Rosemary’s Baby, but I couldn’t find my copy of the latter so went with the former.

Since 2015, the term “gaslighting” has come back into vogue, with small wonder. Gaslighting can make you question your own judgment and your grasp on reality1; something many of us have experienced over the past nearly ten years and it isn’t an enjoyable experience.

Paranoia, combined with not being believed, makes for a fantastic novel that is very difficult to pull off; I can think of any number of films and books that use paranoia as a driving theme for their plots, and I always enjoy them. There really is nothing more frustrating than being being not believed about something that’s happened–or is happening–to you. It can make you crazy, make you question yourself and your own grasp of reality. It’s horrible and cruel in reality, and it’s something everyone can relate to because we have all not been believed at some point in our lives. It’s happened to me enough times (including losing jobs) that it certainly resonates with me. (I have an idea for a gaslighting/paranoia short story that I’ve been wanting to write for some time now.)

So, needless to say, I greatly enjoyed reading my advance copy of Alison Gaylin’s upcoming January release, We Are Watching.

It’s been the longest day of Meg Russo’s life, and it isn’t even half over. Her stomach gnaws at her, her hands heavy on the steering wheel. But when she glances at the clock on the dashboard, she sees that it’s a little shy of 11:30 a.m., which means that Meg, her husband, Justin, and their daugheter, Lily, have only been on the road for an hour. They’ve got at least three more hours on the thruway, and then they’ll have to contend with the series of veinlike country roads Meg and Justin haven’t traversed since their own college days. If they don’t hit too much traffic, they should be in Ithaca by five, which now feels like some point in a future so distant, Meg is incapable of envisioning it.

Time is strange that, the past eighteen years zooming by in an instant, all of it leading up to a single day that’s already lasted eons. Meg blames the stress of last night, wanting everything to be perfect for their daughter’s send-off, which led to thoughts of Lily’s first visit home for Thanksgiving break, which in turn made Meg think for the millionth time about how cold their house gets in the fall, and how Lily always complains about it. New windows, Meg had thought, lying in bed with her eyes open, envisioning insulated windows to replace those paper-thin sheets of glass, the same windows that were here when she and Justin bought the place twenty years ago–and it was a fixer-upper then. What if Lily came home to new windows? Meg mused, still awake in the wee hours of the morning. Will she have changed by then? Will she have grown too sophisticated to get excited over a warmer house? And so on, until the sky was pink and it was time to wake up and Meg had barely slept at all.

I’ve enjoyed Alison Gaylin’s work since I first read And She Was back in 2012, and have been a fan ever since, gobbling up each new book as she releases them. She has always been a terrific novelist, but what has been amazing to watch is how she pushes herself to do better with each book, tackling bigger themes and creating believable, relatable characters you can’t help but want to root for. We Are Watching may be her best yet, starting as a slow burn but building into an adrenaline boosting rollercoaster of a thriller.

The book opens with Meg and Justin taking their daughter Lily off to college, with all the emotions and fears and sense of loss that comes with a child leaving home and starting to move into their adulthood. Meg is likable, and so is her family. But as they drive a carload of skinheads pulls up alongside of them and start taking pictures. Meg reacts very strongly–so strongly that even I was like take a chill pill, girl!–which eventually leads to a crash that kills Justin, leaving the two women shattered shells of their previous selves. Lily decides to take time off from college and even Meg becomes housebound, despite needing to run her book store in the small Hudson Valley town they live in.

But things slowly begin closing in on both Meg and Lily; who were those skinheads in the other car? Why are truly strange, cult-like people showing up in the store or in town, chanting weird things at them? As Meg’s paranoia and fear grows, it soon becomes apparent that a religious cult is targeting her and her family, but why? But to find the truth, Meg has to not only survive the cult, which seems determined to kill her and her child, but when she has the time, to dig back into her own past to discover the truth–because the truth is the only thing that can set them free.

This book is fantastic, and I couldn’t put it down. It has all the hallmarks of a great Gaylin novel–a compelling and relatable main character doing the best she can in a terrible situation; a twisty plot full of surprises; and the kind of strong writing that makes her sentences and paragraphs sing.

Preorder it now and thank me in January when you finish reading it.

  1. The film this term comes from, Gaslight, is a great movie and Ingrid Bergman is terrific as the wife who isn’t sure if she is losing her mind; she deserved her Oscar and the film still holds up–and a very young Angela Lansbury makes her screen debut in it. ↩︎

I Am Woman

Ira Levin has always one of my favorite writers, but I often forget about him when I am talking about influences. I don’t know if Levin’s work influenced me; he was very sparing with his prose, and I am most definitely not that, but I know he has written some of my favorite novels of all time and his incredible popularity–based on very few novels written, most of them pretty short–was such that titles of his books became part of the popular culture; a “tl;dr” if you will to explain something: Rosemary’s Baby, The Stepford Wives, The Boys from Brazil. He wrote one of my favorite crime novels with a shocking twist (two thirds of the way in!), A Kiss Before Dying, which won an Edgar and should be considered one of the best crime novels of all time (the problem with it is a big part of the genius is in the twist, and it’s such a massive spoiler it can’t really be talked about except in criticism).

I knew about Rosemary’s Baby–everyone alive the year the movie came out knew what it was and what it referred to (I was wanting to do an entire post about Levin, but I couldn’t find my copy of Rosemary’s Baby) so settled for rereading The Stepford Wives over the weekend (it’s very short, very chilling, and downright terrifying in places. It was also the first Levin novel I read; I bought the Fawcett Crest edition pictured below, and I think I read the entire thing in a single afternoon. I’ve also seen both movies, both of which were okay, but again, the great thing about Levin is how he played his cards and which ones he withheld; the movie editions couldn’t get away with what he did in the book, which made the movies less compelling and less terrifying.

And it definitely holds up. In fact, it’s kind of compelling reading in this post-Dobbs time in which we find ourselves living these days.

This is the actual copy I had, and read. It looks very Gothic on the cover, but it’s not that at all.

The Welcome Wagon Lady, sixty if she was a day but working at youth and vivacity (ginger hair, red lips, a sunshine-yellow dress), twinkled her eyes and teeth at Joanna and said, “You’re really going to like it here! It’s a nice town with lots of nice people! You couldn’t have made a better choice!” Her brown leather shoulderbag was enormous, old and scuffed; from it she dealt Joanna packets of powdered breakfast drink and soup mix, a toy-size box of non-polluting detergent, a booklet of discount slips good at twenty-two local shops, two cakes of soap, a folder of deodorant pads–

“Enough, enough,” Joanna said, standing in the doorway with both hands full. “Hold. Halt. Thank you.”

The Welcome Wagon lady put a vial of cologne on top of the other things, and then searched in her bag–“No, really,” Joanna said–and brought out pink-framed glasses and a small embroidered notebook. “I do the ‘Notes on Newcomers,'” she said, smiling and putting on the glasses. “For the Chronicle.” She dug at the bag’s bottom and came up with a pen, clicking its top with a red-nailed thumb.

Are there still Welcome Wagon Ladies? And what a clever way to open a novel about a bedroom community town for New York–what else but the Welcome Wagon Lady welcoming a new family to Stepford. It puts the reader at ease, too–something very familiar to people in the 1970s was the Welcome Wagon Lady, so opening a novel with something ordinary and normal is an interesting choice, given what’s to come. (For the record, there will be spoilers here. I’m sorry, the book came out in the early 1970s, as did the original film version and even the dreadful remake is now at least twenty years old.) Joanna Eberhart is a stay-at-home mom who gave up a promising career as a photographer when she got married, but now that the kids are older, she and her husband have found a lovely home in an idyllic seeming town where he can commute into the city1, and they’re in the midst of the chaos of moving in. There’s an extra room that even had running water to function as a developing room2, so Joanna can get back to pursuing her photography career. Good schools, lots of space, all kinds of enticements to get a young family to move out there3…

It’s difficult for young people today to even imagine what a different world it was I grew up in, and the 1970’s might as well be the 1870’s to the younger generations…then again. didn’t 1945 and World War II seem a million years ago when I was a kid…but I was much closer in time to WW2 than teenagers today are to the 1970’s. (The actual equivalent would be fifty years ago, which would have been 1921 to me; when my grandparents were born there was still a German Empire, an Ottoman Empire, an Austria-Hungary, and the Romanovs were still on the throne in St. Petersburg.) But when this book was written the Women’s Movement was just really gaining a lot of traction (it was called Women’s Lib, and proponents of it were scathingly called “Libbers” by those who thought women were better off in the kitchen, unseen and unheard), and women were beginning to understand they didn’t have to subscribe to the old, tired gender roles that basically were invented after the Second World War. They could have a career. They didn’t have to get married. Among the things they were protesting was not being allowed to get bank loans, credit cards, or bank accounts without a husband–which was very difficult for widows and divorcees (and why a lot of women stayed with abusive jerks.) It wasn’t a crime to beat or rape your wife because you owned her. The Pill freed them–both married and unmarried–from the terror of getting pregnant and abortion was illegal. Sound familiar?

Levin, who was also an incredibly sly critic of social structures, the culture, and society in general, saw the beginnings of women starting to assert their independence, and asked the question so many bewildered men, unaccustomed to women’s freedom, didn’t know the answer to: if women were free and independent and could choose their own course in life, what was the new role in all of this for men? What was their place anymore? There was pushback against women’s liberation and not just from men; some of the most vocal opponents to women being made into whole people came from women.4 If it was, indeed, a “battle of the sexes” as the conservative gadflies kept insisting (or a “war on men”), what would men do?

The Stepford Wives was the chilling answer.

Once Joanna moves in, she begins noticing how the other wives in town are all beautiful, have great figures, and always have their hair done, a face of make-up, and are devoted to making their husbands happy. She meets another recent relocator, brash Bobbie Marlowe, whose house is just as messy as Joanna’s, and they begin to bond over the weirdness of the other women in town. They make another friend, Charmaine, and the three women kind of bemusedly wonder if there’s something in the water in Stepford that makes the women behave like such 1950’s June Cleaver housewives. There’s also the Men’s Association, a men’s club that all the men of Stepford belong–a secretive organization in a big house. Joanna and Bobbie are appalled at the sexism in the very idea of such a club, and their husbands promise to try to make including women an option–the old “change from inside” shtick we’ve all heard a million times. Joanna’s husband brings some of the club officers for her to meet and get a read on. One of them is a Frank Frazetta-style artist, who does a series of sketches of Joanna. Another used to work in the animatronic section of Disney. Another is doing a research project he asks Joanna to help with, having to do with accents and the way people speak, which requires her to record an insane amount of words into a tape recorder.

And then…Charmaine becomes one of the Stepford wives, and the two women are terrified.

Bobbie is convinced now there’s something from nearby chemical plants in their drinking water, and goes to extremes in her paranoia. Joanna forces Walter to agree to move, and then they start looking for other places in nearby towns. Heightening their paranoia is finding out there actually HAD been a Women’s Club in Stepford, and even had Betty Friedan come speak to them4! What happened to these women? Levin is exceptionally brilliant at writing paranoia, and the reader becomes wrapped in them, what is happening to them, and hoping that they’ll get away somehow. But the biggest betrayal of all is yet to come: their husbands, whom they loved and married and started families with, are also in on it.

The message of The Stepford Wives was that men don’t really want a full partner; they want a home manager who takes care of everything, including the kids, so they can focus on work.

Sound like tradwives or something Senator Katie Britt would love to impose (on other women, of course; tradwife for thee but not for me) on the country, doesn’t it? Women with no imaginations, animatronic creatures who feel like women, and cater to their every whim and desire?

Maybe The Stepford Wives should be required reading for all teenaged girls. And sadly, the book still holds up. It’s not a reach to believe that there’s a town like this somewhere, where the men have murdered their wives and replaced them with droids. I certainly see enough troglodyte men on-line who think that way.

  1. This was a HUGE trope in 1970’s horror; moving away from the city to get fresh air and space…only to have that dream of a bigger house and a lawn and fresh air turn into a fucking nightmare, which I hope to write a longer essay about at some point. ↩︎
  2. Yes, we used to take pictures with “cameras” on “film” that had to be processed and developed; Fotomats were popular, or you could get it done at Walgreens. There used a developer on Decatur Street just off Jackson Square; I had a lot of pictures developed there when I was in the Quarter more regularly. ↩︎
  3. Interesting that Rosemary’s Baby also opens with a young married couple, hoping to have kids, moving into a new place. ↩︎
  4. I hope Phyllis Schlafly is frying in hell, and is sharing a cast iron skillet with the Reagans and Jerry Falwell. ↩︎
  5. If you don’t know who Betty Friedan is, shame on you and use google. ↩︎

If You Talk In Your Sleep

Well, here we are in the cone of uncertainty for a tropical storm that should be forming due south of Louisiana in the Gulf, which should make for an interesting week, don’t you think? How things have changed since I posted my blog yesterday morning… I imagine we’ll be hearing about contingency plans today at the office.

Sigh. Wednesday is also Pay the Bills Day, which should make everything all the more interesting. According to the hurricane center, landfall should be around seven pm on Wednesday, so who knows? It might impact work on Thursday, too. And of course, I am writing about experiencing a Category 1 with this new Scotty, and this one will be a Category 1, too, if not stronger. Yay. Needless to say, we won’t be evacuating as this has come up a little too quickly; we’d have to get packing and on the road today, tomorrow morning at the latest. There’s no call for evacuation, so we should be okay. But…we may lose power, and that truly sucks. If the weather is going to be cool…it might be kind of nice, but I don’t think that’s going to be the case. Guess I’ll be getting that case of water down from the attic and tossing a few of them into the freezer. But there doesn’t seem to be much concern in the news or on the weather channels, so I am assuming it’s nothing to be terribly concerned or worried about. It’s 3’s and up that are the real problem…and of course, now that I’ve said that…

Since it’s a Monday, it’s back to the office with me this morning. I had a lovely, restful weekend, how about you? Yesterday was a really lovely day here. I overslept so was a bit off for the rest of the day, but the weather was gorgeous. I didn’t do a whole lot of anything, but one thing I did was start the Scotty Bible, going through the already post-it noted copy of Mardi Gras Mambo and getting some interesting (and necessary) information out of it (the first names of his grandparents and his dad; the street the Diderot mansion is on) that I needed, and I felt very accomplished getting that part of it done and it’s off to a start. It was also kind of nice revisiting the old book, something I wrote almost twenty years ago. I’d forgotten how insane the plot of this book actually was, and I’m kind of impressed that I managed to pull it off, especially given how many aborted starts I made on it. But I certainly picked the right back-list book to start compiling the Bible with; it had all the answers I needed for this one in it. Doesn’t mean I’m going to stop doing it, mind you; I am planning on getting through one book per day (I already marked the places I need to get information from in the entire series, many years ago); today is Who Dat Whodunnit when I get home tonight. I’m also going to correct the chapters I’ve already written with the right names and places and so forth.

I ran an errand and the weather was stunningly beautiful–the 70s and cool; the breeze was nice and cool, a lovely change from it feeling like the air coming out of a floor vent in Minneapolis in January. I watched the Saints win, which was also lovely, and then I had a ZOOM call with some friends before settling in for the evening, where we got caught up with Bad Monkey and Only Murders in the Building.

So, all in all, a pleasant if lazy weekend here in the Lost Apartment, if not a particularly productive one. Which is also fine, you know. Weekends don’t have to be productive anymore.

It’ll be interesting to see how this storm–which is now projected to be a Category 2 when the eye comes ashore–is going to interrupt the week and my work. If we lose power, we have plenty of candles and things to drink, and I can catch up on my reading. Now that I’ve broken through my “reader’s block” and binged an entire novel in one sitting (Alison Gaylin’s We Are Watching, available now for preorders and being released in January), reading isn’t going to be as big an issue as it was. I am also making progress on getting through Rival Queens, and am revisiting some Ira Levin classics, preparatory to a longer essay for Substack about one of my favorite writers that I sadly forget about when asked about influences; Levin’s work had an influence on mine in some ways, but he was definitely a master. He wrote one of the greatest crime novels of all time (A Kiss Before Dying, which still amazes with its twists and turns and surprises), and three others that became part of the zeitgeist and had a lasting impact on our culture: Rosemary’s Baby, The Stepford Wives, and The Boys from Brazil. (I also want to reread “A Rose for Emily” this week, too.) I also haven’t reread Rebecca in quite some time, nor The Haunting of Hill House, either. I am going to be trying to read horror all month for Halloween again; I have some terrific horror novels collecting dust that I need to get around to, and Halloween Horror Month sounds like a great idea to me.

I also want to watch The Deliverance this week.

And on that note, I am going to head into the spice mines. It’ll be an interesting day, for sure, and maybe I’ll be back later. Stranger things have occurred.

Help Me Make It Through the Night

I actually slept last night here at my hotel, and slept late this morning, both of which are so unusual it does bear remarking on. I also walked a lot yesterday here in Manhattan; it’s about fourteen blocks from the hotel to the MWA office; a straight shot up Broadway. That’s a lot more walking than my tired old fat-ass is used to, so perhaps that had something to do with the deep sleep. I also met a friend for drinks with Paul last evening (here in the hotel bar), and then we came back up to the room and I read for a bit before I got cross-eyed with sleep (I am really enjoying this Raquel V. Reyes novel tremendously; although I probably won’t get much chance to finish it before the flight home Saturday, which should give me plenty of time to not only finish reading Mango Mambo and Murder but to read (or make good headway on reading) one of the other books I brought along for the ride. (There will also be giveaway books at the banquet tonight…)

It really is remarkable how much I dislike working on a laptop, thought. Mostly it’s because the screen is too small for my aging eyes (note to self: make an eye appointment stat, maybe new glasses will take care of this for me) but I have my wireless keyboard (I hate typing on a laptop most of all) and my wireless mouse with me, which makes it a bit easier for me to deal with.

I was also surprised that I slept so well last night mainly because, well, the banquet is tonight and I have to be up on stage to begin with to welcome everyone and do some thank you’s and introductions, which I have to be stone cold sober to do–which, given there’s an hour of cocktail reception before hand, isn’t going to be easy for one Gregalicious, who never likes passing up free wine or champagne–and of course being stone cold sober is going to make it a bit more stressful, although the days when I used to drink heavily to deal with the stage fright anxiety are long in the past and let’s face it, was never a particularly smart thing to do (ah, the wisdom that comes with age). The awards are going to be broadcast live on our Youtube channel (if I were better at my job as EVP I’d share a link, but I am not better at the job so oh well) which means it will also be recorded and always be up there for all eternity (the Internet is forever, after all) so the possibilities of me doing something stupid and going viral, therefore burning MWA to the ground, are much higher than say, my speaking for a few moments at the Lefty Banquet. But I am trying very hard to manage my anxiety and stress–I handled the travel here very well, after all–and so this new calm centering thing I am doing seems to be working. I feel remarkably relaxed and rested this morning, in fact, which is highly unusual.

After I finish this and do some more emails, I will probably work on my short story a bit more.

Oh! I also did a ZOOM thing yesterday for the Jefferson Performing Arts Society (JPAS) for their upcoming production of Deathtrap; which of course was a huge Broadway hit comedy/thriller written by one of my literary heroes, Ira Levin (who also wrote A Kiss Before Dying, This Perfect Day, Rosemary’s Baby, The Stepford Wives, and The Boys from Brazil, for a few highlights). It was actually quite fun–I love the opportunity to talk about other writers; talking myself up is an entirely different subject–and I am not sure when or where it will be available to view on-line, but I don’t think I made a fool of myself.

I’ve been wrong before.

And on that note, I am going to head into the spice mines and get to work on that story some more. You have a lovely day, Constant Reader, and I will recap the banquet for you tomorrow.

Half Breed

Ira Levin was one of my favorite writers. He only wrote seven novels during his lifetime (he died in 2007), and I’ve read all of them but one; they were each extraordinary. Like James M. Cain, his most famous novels were very short; but each one that I read was exceptional. His books were so ubiquitous that they’ve entered the vernacular; the references may be lost on younger people, but most people will know what you mean when you reference a Stepford wife or a boy from Brazil.

And everyone knows Rosemary’s Baby.

rosmarys-baby-apr-1968-ira-levin-publ-dell-7509-0-95-218pp-pb

Levin was an amazing writer, truly amazing. Take the opening to Rosemary’s Baby:

Rosemary and Guy Woodhouse had signed a lease on a five-room apartment in a geometric white house on First Avenue when they received word, from a woman named Mrs. Cortez, that a four-room apartment in the Bramford had become available. The Bramford, old, black, and elephantine, is a warren of high-ceilinged apartments prized for their fireplaces and Victorian detail. Rosemary and Guy had been on its waiting list since their marriage but had finally given up.

The opening paragraph of The Stepford Wives:

The Welcome Wagon lady, sixty if she was a day but working at youth and vivacity (ginger hair, red lips, a sunshine-yellow dress), twinkled her eyes and teeth at Joanna and said, “You’re really going to like it here! it’s a nice town with nice people! You couldn’t have made a better choice!” Her brown leather shoulderbag was enormous, old and scuffed; from it she dealt Joanna packets of powdered breakfast drink and soup mix, a toy-size box of non-polluting detergent, a booklet of discount slips good at twenty-two local shops, two cakes of soap, a folder of deoderant pads–

Both start so innocently; a young couple getting the apartment of their dreams, a wife newly moved to the suburbs being greeted by the Welcome-Wagon Lady (do people still do that, I wonder?). Sunshine, light, and innocence, right? Both books begin with new beginnings; a fresh start in a new home. And yet–both wives, Rosemary and Joanna, wind up in terrifying situations, and even worse, no one believes them, least of all their husbands–particularly since it was their husbands who sold them out in the first place; Guy Woodhouse selling Rosemary out to a cult of Satanists in exchange for career success, Joanna’s husband selling his feminist wife out for a realistic, animatronic robot version with a sexier figure who is programmed to be an obedient wife/slave to her husband. The Stepford Wives was the first Levin novel I read, and I read it shortly after it came out in paperback, plucking it off the wire paperback racks at the Zayre’s in Bolingbrook shortly after we’d moved to that suburb. And it’s really a frightening book to read when you’ve just moved to the suburbs.

But I can’t help but wonder why Levin’s work in these two instances isn’t considered domestic suspense? Both books are from the point of view of women; about their issues and their place in their marriages; and borrow the most important theme from romantic suspense novelists like Phyllis Whitney and Victoria Holt: his heroines cannot fully trust their husbands. Of course, both books veer into the supernatural…are they horror novels?

My favorite work of Levin’s is his first novel, which also won the Edgar for Best First, A Kiss Before Dying. It’s been filmed twice–neither film is worth watching, frankly–and it literally is genius. If you haven’t read it, you really need to–it’s one of the best suspense novels I’ve ever read. The problem, of course, with A Kiss Before Dying is you can’t really discuss it without spoiling it–and while you can still enjoy the book knowing the big twist, not having it spoiled really makes you appreciate how genius Levin really was.

And now, back to the spice mines.