Tag: Victoria Holt

Photograph

Saturday morning and I feel rested after a very good night’s sleep. I got my work done yesterday after which we went to Costco, and groceries were delivered last night. All of this wore me out on top of all the chores I got done yesterday as well. I finally collapsed into my easy chair, Paul and Sparky curled up on the couch, and we binged about three or four episodes of The Hunting Wives, and there’s only two episodes to finish off tonight. I have a lot of errands to run this morning–prescriptions, mail, and two other stops–and then want to spend the afternoon writing and reading. I am having dinner with two friends from high school (!!!) that are in town for the weekend later on this evening, but it’s early enough so when I get home we can finish off the show, which is amazing (although there is no way that kid has a basketball scholarship to Baylor).

We’re supposed to have thunderstorms tonight, which will be fun as it always is (and will help me sleep very well again). Tomorrow I don’t have to leave the house at all other than taking out trash or using the grill (I think I’m going to make beef stroganoff tomorrow rather than burgers), which will be nice. I am going to try to do some more straightening up around here today–and will try not to be horrifically lazy the way I sometimes get on weekends–around writing and reading. I’d like to finish the Abbott today (or this weekend), and I also need to get through my Elizabeth Peters and Jay Bennett rereads as well. I’m not really sure what to read next: Rough Pages by Lev AC Rosen, perhaps, or maybe some horror, I can’t and don’t need to decide right now, either. I think my next Gothic reread might be either a Phyllis Whitney or Victoria Holt. Not sure on the kids/young adult next read or reread, either.

And I think Wednesday comes back next week, which is cool.

I did make some good progress on my workspace yesterday. It’s still a bit messy this morning, but just some straightening and filing is all that is necessary to get it all under control again. I think I’ve been feeling closed in and claustrophobic in the house because we have so much clutter everywhere, which isn’t much fun (the claustrophobic feeling), and that’s also because the heat and humidity of August is almost a sentient thing outside my windows; something oppressive and thick to the point where it feels like we’re in a cave sometimes. I just don’t have the energy to spend an entire day focused on cleaning, you know? Sparky making messes everywhere he goes doesn’t help on the cleaning front, either–always knocking shit off flat surfaces, like all cats do. He’s lucky he’s so sweet and cuddly.

I did actually think about what I need to revise this weekend yesterday, and I kind of know what to write now; it’s going to be an extensive revision, which should be fun to do and I will feel like I accomplished something today when I am done.

And on that note, I am heading into the spice mines for the day. I’m going to go catch up on the local and national news (depressing and horrifying as the national news inevitably always is) before I go run the errands and kick the day off.

…Ready for It?

Sunday of the holiday weekend and I am feeling pretty good. I am up earlier than I would prefe, but it seems sleeping in later than six is something rare for me now and it’s okay; it gives me more awake time to get things done. I’m getting some reading done every morning when I get up, and yesterday I did do some chores, but tried to mostly relax while processing Victoria’s death. I also read a little bit, and mostly just tried to relax and gather my strength back. I have to run an errand today–a library book is ready for me, and I can swing by Fresh Market on the way home; oh, never mind, the library is closed for the holiday so that will have to wait until Tuesday after work, but I do need to go to Fresh Market anyway, maybe even wash the car while I’m on Louisiana Avenue. But I did get the bathroom and part of the kitchen under control and finished; so the downstairs looks a lot nice than it has since I fell ill, which is a lovely thing. I can finish it today and then work on the living room next, and maybe, just maybe, my house will finally be under control again and presentable and won’t make me groan with despair every time I walk in.

I also watched one of the few Hitchcock films I’ve never seen–mainly because it’s never been available before when I thought about watching: Suspicion, which stars Joan Fontaine (the only performer to win an Oscar for a Hitchcock movie, although she should have won for Rebecca and Anthony Perkins’ failure to be even be nominated for Psycho remains a hate crime) and Cary Grant. It’s based on the Francis Iles novel Before the Fact (of which I have a copy and have been assured it’s better than the film). It did make me think about a theory I have about domestic suspense and Gothics–that they are about women’s fears and therefore women’s noir of a type–and Suspicion is definitely one of those–does her husband–whom she catches in lies all the time and is kind of a bounder–love her or did her marry her for her money? (This is a very common theme in Victoria Holt novels, by the way, which I loved.) Something to write about for another time, methinks. The film itself was okay, and I am now more convinced than ever that Fontaine’s Oscar was a make-up for Rebecca, a far superior film in every way. (It may be time for my annual reread of Rebecca, in fact.)

I also read a bit more into Moonraker, which is fascinating in its casual misogyny, and it’s really hard-boiled attitude; as I said, Fleming’s Bond is so far removed from the Roger Moore/Timothy Dalton/Pierce Brosnan Bond that they may as well be different characters; Connery and Daniel Craig more captured the Fleming feel of the sociopathic killer/spy. The parallels between the villain in the book, Hugo Drax, and Elon Musk are so prescient as to make me wonder whether Fleming could see the future. More on that later, of course.

We finished watching Overcompensating last night, and it’s such a good show. It does an excellent job of depicting how terrifying it is to come out–to anyone and everyone–and how you wind up being a liar for self-preservation; I think all those lies is why I am so triggered by people calling me a liar these days, and I’ve never really seen this depicted in anything queer before–about how you can’t really be a good friend with people you can’t be honest with and have to lie to all the time. It really can’t be explained, but I still have a lot of shame from that time in my life, from when I was overcompensating and making an absolute fool of myself because no one was actually fooled and my true friends were delighted when I came out. The depression and faulty wiring in my brain certainly didn’t help.

And yes, I will always be grateful to those friends who were delighted.

I’m looking forward to relaxing some more today, to be honest. Paul has his trainer this afternoon, and when he gets home I am going to barbecue burgers and cheese dogs. Yes, I know you’re supposed to actually cook out on Memorial Day itself, but I’d rather do it today. I’ve been experiencing hunger a lot more lately than I can recall, and I am snacking on top of it all. I’ve been spending a lot of time looking at Door Dash to have something delivered, and I’ll probably pop that cherry next weekend. I’ve also been missing my mom’s cooking–her chicken and dumplings were sublime, and she made everything from scratch and from memory; her biscuits and gravy were to die for, and somehow she made the best pancakes I’ve ever had anywhere. I am going to make an easy chicken-and-dumplings recipe tomorrow; will definitely report back.

I am getting stronger every day, but I also still tire far too easily and am not even close to being back to 100% yet, which is fine. I just need to be patient–never my strongest suit–and let my body heal itself from the trauma.

And on that note, I am heading into the spice mines. Have a lovely Sunday, Constant Reader, and I may be back later; I hope to get my newsletter done today as well.

Bette Davis in the opening scene of her Oscar nominated performance in The Letter.

La Marseillaise

Nothing to me was more amusing in the “brou-ha-ha” that triggered MAGAs during the Paris Opening Ceremonies. Their myopic and narrow view of what art and history can be, as well as their whining about blasphemy (while being the target audience for the Trump Blasphemy Bible), made me laugh really hard as I watched it unfold on-line the other night. Nothing shows American tribalism in its purest form (and earns us the scorn and mockery of the world) than criticizing the art and culture and history of another country–one that has existed centuries and centuries longer than ours can ever dream of lasting–and being offended by probably one of those strongest and most respected cultures of all time in the fucking world is why Europe is currently laughing at us as uncultured idiots.

(And for the record, there would be no United States without France. Period. We had no navy and therefore couldn’t have trapped Cornwallis at Yorktown. Know your own fucking history, MAGA morons, and miss me with all the “We saved France from the Germans twice!” bullshit. We were repaying a debt that can never be fully repaid, and if you think the French aren’t grateful–they honor our fallen soldiers far more than we do…especially taking into consideration the MAGA’s hero wouldn’t even visit the cemeteries in Normandy because it was “raining”, i.e. “it takes too long to do my face and hair to go out into the rain.”)

My personal favorites were the uneducated whines about the French mocking Marie Antoinette by showing her holding her head and singing from the disembodied face. Um, the French hated her, and whether she was to blame for France’s cratering economy or not is besides the point. She wasn’t a martyr, and the French have never regretted executing either her or her husband Louis XVI. France doesn’t regret its revolution and toppling its monarchy in the least. There is no revisionist history in France, like how the Russians have done with rehabilitating the Romanovs–and that was more about distancing themselves from the Bolsheviks more than anything else. There have been a lot of books over the years that have tried to rehabilitate her, and make modern readers have sympathy for her. I’ve never really understood this, even as I myself was convinced into pitying her for being stupid and pretty vapid (Victoria Holt’s The Queen’s Confession was the first of these apologist books I read) and getting unfairly blamed by the French people for their problems–which existed long before she came from Vienna to be their dauphine and eventual queen.

In a nutshell, she never had a chance with the French people. She was Austrian, and Austria had been a mortal enemy of France’s since the marriage of Maximilian of Austria to Mary of Burgundy in 1476. The rise of Prussia as a militaristic power in the early eighteenth century had both France and Austria alarmed; so France changed its natural alliance with Prussia (an enemy of Austria’s) and partnered up with Austria and Russia. The result was the Seven Years’ War, which ended with France losing its global empire and bankrupting the country–which was already on shaky economic ground. The unpopular alliance with Austria was further cemented by the marriage of the young dauphin to the Austrian princess in 1770. The people and court hated her almost from the start, but even without the “enemy princess” stuff, she was the symbol of a hated alliance that had cost the country a lot of its pride and income sources, making the economic issues in France even worse1. The smears from rival factions at court–in which politics were treated as a game everyone was playing, for good or bad, no matter how much it weakened the monarchy and aristocracy–or even more egregious: how it weakened and destabilized France on the world stage. The inequality in France–and the carelessness of the aristocracy in believing the people would never rise against them–was a gathering storm all through the 1780’s, and even worse, the French support of the American Revolution caused France to default on its debt not once but twice that decade. Louis XVI was an ineffectual king at a time when France needed a strong king who could take the reins and fix things with reform, but it was not to be.

And in the end, the Bastille was stormed on July 14, 1789, and four years later the French executed their by-then deposed king and queen–and most of the aristocracy that hadn’t fled abroad when they could.

The French are very proud of their revolution; their national anthem (this entry’s title) was the song of the French Revolution, and their national flag is the flag of the revolution. Why would anyone think the French have rehabilitated the reputations and historical views of the king and queen they executed in a revolution that is still a source of national pride?

I’ve always found the way English and American writers love to rehabilitate the reputations of reviled kings and queens throughout history. Do the British celebrate Charles I as an English martyr and saint? They do not–although modern writers definitely are apologists for him and his awful wife. The way Americans–the original anti-monarchists in the world–are so fascinated by royalty and apologists for their awfulness is an irony that would have confused the founders…as well as how many Americans seem to be on board with authoritarianism.

Seriously, Americans. Read a fucking book sometime, and stop embarrassing us all on the world stage.

French Olympic gold and silver medalist for ice dancing Guillaume Cizeron.
  1. This is why Les Liaisons Dangereuses was such an electrifying work when it was published in the 1780s; we’ve enjoyed it as a modern entertainment, but the time that has passed since it was published has removed the sting from what was at the time an indictment of the French aristocracy’s immorality. ↩︎

Down by the River

My appreciation of all things Gothic is at least partly due to the old soap opera Dark Shadows, which I watched as a child and has crept its way into my work, my reading, and the majority of my entertainment consumption ever since. I have always loved anything with a touch of the Gothic in it, and spent my teen years (and a lot of my twenties and thirties) loving and consuming Gothic fiction. The post-war style of Gothic literature, marketed primarily towards women, was being done by authors whom I loved like Phyllis A. Whitney and Victoria Holt and others (while Mary Stewart’s work was also considered Gothic and featured many of the tropes of Gothic fiction, I consider her books to be Gothic-adjacent, and I will probably explain that better and in more depth at another time) and I couldn’t get enough of them. Holt and Whitney, to me, were the two best at this subgenre, and when Gothics stopped being published in such great numbers, I was disappointed and mournful.

Which is why I love Carol Goodman’s books so much. Her books have that Gothic feel to them, are beautifully literate in their prose and structure, and they are also incredibly smart. The books also cover art, education, and the classics; every book is filled with classical references that inevitably make me feel smarter for reading them.

The Drowning Tree is no exception.

The river feels wider from the shallow boat, the humpbacked hills of the Hudson Highlands looming like the giants Dutch sailors believed dwelled there.

“Just put the water behind you,” he says.

I can’t see the man in the boat behind me, and I don’t want to risk my precarious balance turning to see him.

“You’re been through the drill,” he goes on.

And I have. Six weeks practicing in the indoor pool under the watchful eye of the kayaking instructior, tipping myself into blue chlorinated water and rolling up again, gasping, into the humid air, all in one long in-drawn breath. I’ve practiced it until it’s become second nature, but it’s one thing to turn over in the clear, warm pool water and another to imagine myself hanging upside down in the cold gray water of the Hudson, trapped in the currents…

“This is where the current is most dangerous,” the voice says. “The Dutch called it World’s End.”

Like many of Goodman’s novels, this book is set in the Hudson Valley and there’s also an institute of higher learning–Penrose College–involved. Our main character here, Juno McKay, runs a stained glass restoration business in the same town where she went to college and grew up; she also lives in the building that houses her glass works. Her best friend from college, Christine, is coming back to the college to give a lecture into her research into a stained glass window at the college that Juno’s company is in the process of being restored. But before the lecture, Juno sees Christine arguing with the school president, the most recent Penrose, and afterwards when they have drinks together before Christine catches her train back into the city, Juno gets the impression that somethings’s going on with Christine–and then she is found, drowned in a creek along the shoreline of the original Penrose estate, near a sunken sculpture garden, in a scene very reminiscent of the scene in the stained glass window Juno is restoring. IS there a connection? Was it an accident, or was it murder or suicide?

Like any intrepid heroine in a Gothic novel, Juno is soon drawn into the mystery Christine was looking into–what happened years ago, between the first Penrose, his wife and her half-sister? How many secrets does the abandoned estate (very Nancy Drew, too–it reminded me of The Clue in the Crumbling Wall a bit) conceal? What secrets did the original Mr. Penrose, an artist and painter, conceal in his paintings and art and stained glass windows? Briarwood, a local mental institution, also comes into play as well; years ago, Juno’s ex-husband tried to kill her and their infant daughter by drowning them in the river. They survived, but his mental health did not and he’s been in Briarwood ever since. The pattern of three from the past with Penroses and the half-sister also seemed to play itself out with Juno, Christine, and Juno’s ex-husband, pulling the reader into all these complicated skeins and twists and turns, until the book comes to an extremely satisfying end with all secrets revealed and life back to normal at the end.

What a great read, and a great example of why I love Goodman’s work so much.

Down by the Lazy River

There are few things I love more than digging my teeth into a good, solid Gothic story, and there are few modern authors who do it as superbly as Carol Goodman.

I love the modern-style Gothics, which evolved naturally as the role of women in our society and culture has; whereas in the Victoria Holt novels I loved so much, they were rarely professional, working women unless they were a paid companion or a governess (governess of an unruly, undisciplined child was a particular favorite of hers), while the heroines of Phyllis A. Whitney often had some kind of job or professional background. Goodman’s women are often teachers or writers, with a classics background and education, and Goodman is a very literate, smart writer as well.

River Road is no exception to that rule, either.

She came out of nowhere.

I was driving back from the faculty Christmas party. I’d had a couple of glasses of wine but I wasn’t drunk. Distracted, sure, what with Cressida dropping that bombshell and the scene with Ross, but not drunk.

I didn’t see her. It ws dusk, that dangerous hour when day slides into night and deer sneak out of the woods. I’ve lived here long enough to know that. I’ve braked a hundred times to watch a doe lead her fawns safely across the road. A lot of people hate the deer. They eat gardens and carry ticks. But I have always thought they were more beautiful than any garden I could grow and loved them for Emmy’s sake, who thought there were as magical as unicorns.

It was on that blind curve just before Orchard Drive. Everyone takes it too fast. I, of all people, should have known that too, but I was distracted nd my vision had gone blurry for a moment. I’d lifted my hand off the wheel to wipe my eyes and something hit the bumper. A horrible thump I felt in my chest. Then something white scrolling upward like a long scarf unraveling, its body weirdly elongated like one of those cave paintings from the South of France, a hunter’s dream of a spirit deer flying across the cosmos.

That throwaway, almost easy to miss because it just sounds poetic line about “scrolling upward like a long scarf unraveling” is actually incredibly important to the story, and serves as yet another example of Goodman’s powerful skill at her art.

Everything matters in her books–nothing is just by chance.

This book–with the terrific opening, where it becomes soon clear we’re dealing with a narrator who might not be entirely reliable–is set in the upper Hudson valley small town of Acheron which also is home to a campus of SUNY, which is where our unreliable (maybe) narrator is a creative writing teacher. Nan Lewis published a book some years ago, got the job and moved up to Acheron with her husband and daughter, Emmy–who is killed by a hit-and-run driver on the River Road–there’s a terrible blind curve on the road, and this is also where Nan hits the deer. Worried about the wounded deer, she looks for it to see if it needs help, walks into the woods looking and in the falling snow, ends up falling asleep under a tree. She eventually makes it back to her car and drives home, only to find out in the morning that a student of hers, Leia Dawson, was killed by a hit-and-run driver the night before on the River Road…and with the damage to her car, she is the number one suspect.

Had she had too much to drink? She was upset–she was denied tenure and found out at the party, screaming at her ex and department chair, Ross, before storming out to her car in the cold and falling snow. Was it deer she hit, or was it the student?

As Nan tries to get to the bottom of what happened that night–having horrific flashbacks to her daughter’s death, drinking too much, her life a complete mess–she slowly learns that while she was wallowing in misery and alcohol in her house, a lot was going on right under her nose at the campus, with students and teachers involved in strange schemes and secrets, all leading to a thrilling and suspenseful climax during the height of a blizzard, as a horrified Nan has to save herself while still processing all the secrets and lies she’s unraveled.

Layered, complex, with a strong cast of fully developed characters with interior lives, this is Carol Goodman at her finest.

Close Enough to Perfect

I don’t remember when and where I first met Tara Laskowski; my memory has become a sieve over the years and the bout of long COVID in the summer of 2022 didn’t help much, nor did any of the things that have gone on for the last three or four years. But I’ve liked her from the very first–I love that she loves Halloween and centered one of her books arounnd it–and when I read her debut novel, I became a big fan. She, along with Carol Goodman, are killing the Gothic suspense novel genre, which has always been one of my favorites ever since I was a kid and discovered Mary Stewart and Victoria Holt and that Phyllis A. Whitney also wrote books for adults. She followed up her sensational debut One Night Gone with the Halloween book, The Mother Next Door, and it was also magnificent.

So I really was looking forward to her third novel, and Constant Reader, it did not disappoint.

Ever since Zack told me about The Weekend, it’s all I’ve been able to focus on. Most people would naturally be at least a little nervous to meet their significant other’s family for the first time.

But most people aren’t dating a Van Ness.

“Earth to Lauren.” Zach snaps his fingers, grinning over at me. He left work early to get on the road sooner and didn’t have time to change, so he’s still wearing his suit, purple tie slightly askew but knotted even after hours of driving.

“Sorry,” I say, tugging the ends of my hair. “Zoning out.”

“You look like I’m driving you to your death,” he says, then grabs my hand and squeezes. “Don’t worry. I promises it’ll be fun. Even if my family’s there.”

This is a great opening, and it sets up the story perfectly. Our sympathies are immediately with Lauren. Laskoswki has put her into a situation we can all relate to: the terror of meeting your partner’s family and the discomfort that comes with it, the self-doubt, the need to be liked and accepted. Zach is a Van Ness, too, and while we aren’t really certain what that means yet, it’s important and stressful enough so that Lauren, in communicating her thoughts and feelings, thinks it bears mentioning and we should understand how she feels. It works, and that outsider feeling (and haven’t we all felt like an outsider at some time? See Saltburn) keeps the reader’s sympathies with Lauren completely.

But there are three more point of view characters–two other women, one a Van Ness by blood and the other by marriage–which is always a difficult feat for an author to pull off, but making those voices distinct and clearly different from each other is what makes the book work. Harper, Zack’s sister, is harsh, tough, cold and vindictive. She runs her own beauty company and blog, VNity, which is struggling. Elle is married to Harper’s twin brother Richard, who oversees the vast Van Ness holdings, and like Lauren, has some serious “pick me” energy too; she joined the Van Ness family and has wiggled her way into the family by asserting herself as well as trying to take over the role of family matriarch, as their mother is dead. Their mother, Katrina, was a tough woman who was hard on her children, but babied the youngest, Zack–which the twins have always resented. The retreat, this Weekend, is a celebration of the twins’ birthdays, with a huge party being thrown the Saturday night of that weekend, spent up at the Van Ness Winery, in the Finger Lakes section of New York.

So yes, that Gothic feeling is there almost from the start. The wide-eyed young innocent, coming to the big family estate in a remote part of the country (see also, Beware the Woman by Megan Abbott) into a situation where she’s not sure she can entirely trust her boyfriend. The house is filled with secrets, too–hidden rooms, secret staircases and passage ways–and a lot of sibling resentment, bitterness, and anger begins bubbling up to the surface almost immediately.

There’s also a fourth POV character, known only as the Weekend Guest, who hates the Van Ness siblings and is trying to bring the entire family down as a brutal winter storm bears down on Van Ness Winery…

What a terrific read! Get a copy–you can thank me later.

Say You Will

It really boggles my mind that it took me so long to get into listening to audiobooks. I think it was more of a sense that it didn’t count as reading if I wasn’t holding a book (or my iPad) in my hands and scanning the words with my eyes. I’ve never really liked being read to, either; and while I do enjoy live readings by authors of their work, those generally don’t last more than ten hours. I also worried that, as I do have ADHD and good writing always inspires me and floods my brain with ideas for new work for me or stuff that I am already working on (driving through Alabama, for whatever reason, always is inspiring to me), and it’s very easy to go back to where I was reading when inspiration hit. It’s not quite as easy to do this when you’re listening–I haven’t exactly mastered the rewind thing while driving at eighty miles per hour–so I am always afraid I’ve missed something. But…audiobooks in the car on long trips has literally changed my life and made the drives less irritating, boring and painful.

I have always had a taste for fiction that could be classified as Gothic; two of my favorite writers (Daphne du Maurier and Mary Stewart) were masters of the genre. I thought with the deaths or retirements of the major Gothic authors of the mid to late twentieth century that the style (or sub-genre, if you will) had fallen out of fashion (after it’s peak in the 1970’s and early 1980’s) and I missed them, terribly. What I hadn’t known was authors were still writing them, updating and reinvigorating the field…because the cover styles that always marked a Gothic novel (big spooky house, light in a window, creepy looking tree, woman in a flowing nightgown with long hair running from it and looking back over her shoulder in fear) were actually which became obsolete.

I am so glad I found Carol Goodman.

When I picture the house I see it in the late afternoon, the golden river light filling the windows and gilding the two-hundred-year old brick. That’s how we came upon it, Jess and I, at the end of a long day looking at houses we can’t afford.

“It’s the color of old money,” Jess said, his voice full of longing. He was standing in the weed-choked driveway, his fingers twined through the ornate loops of the rusted iron gate. “But I think it’s a little over our ‘price bracket.'”

I could hear the invisible quotes around the phrase, one the Realtor had used half a dozen times that day. Jess was always a wicked mimic and Katrine Vanderburgh, with her faux country quilted jacket and English rubber boots and bright yellow Suburban, was an easy target. All she needs is a hunting rifle to look like she strode out of Downton Abbey, he’d whispered in my ear when she came out of the realty office to greet us. You’d have to know Jess as well as I did to know it was himself he was mocking for dreaming of a mansion when it was clear we could barely afford a hovel.

It had seemed like a good idea. Go someplace new. Start over. Sell the (already second mortgaged) Brooklyn loft, pay back the (maxed-out) credit cards, and buy something cheap in the country. By country, Jess meant the Hudson Valley, where we’d both gone to college. and where Jess had begun his first novel. He’d developed the superstition over the last winter that if he returned to the site where the muses had first spoken to him he would finally be able to write his long-awaited second novel. ANd how much could houses up there cost? We both remembered the area as rustic: Jess because he’d seen it through the eyes of a Long Island kid and me because I’d grown up in the nearby village of Concord and couldn’t wait to get out and live in the city.

Isn’t that a great opening?

All of Goodman’s novels are unique, but tied together by that strong, literate authorial voice that makes starting to read (or listen) to a new one as comfortable as slipping into your house shoes; the word choices are marvelous, and the sentence/paragraph constructions are so intricate yet not impenetrable to the reader. Goodman’s novels usually have a central core that has to do with education and/or literature of some kind, and are inevitably set in either upstate New York and/or the Hudson Valley or the city itself; but there’s always a brooding, old building involved. The books are also smart and well-paced, and there is often a dual timeline involved, whether it alternates between past and present or does an entire time-jump to reveal the secrets and the truths bedeviling our heroine. Goodman’s heroines are likable, relatable, and understandable.

The Widow’s House focuses primarily on our main character, Clare Martin. Clare met her husband, Jess, in a creative writing seminar at a impressive university near Concord, where she grew up and she and Jess are currently looking for a house they cannot afford. Both were aspiring writers when they met; Jess wrote a debut novel that made a splash but is now ten years overdue on his second (aside: this always amazes me. I don’t think I’ve ever known a writer given an advance who then never delivered a manuscript for ten years or more without consequence, but this always pops up in novels about literary writers–Michael Chabon’s Wonder Boys comes to mind. Then again, most writers I know are genre writers and no crime writer could ever not deliver for ten years–I always feel horribly guilty when I miss a deadline and then it’s usually only an extra month that I need, not ten years. Maybe it’s different for those who write lit-ra-CHOOR) while Clare has buried her own authorial ambitions while working as an editor (and then a freelance one) to support Jess while he writes his book (I also would never let Paul go ten years without working while I couldn’t write so I could support him financially; I feel relatively confident the obverse is also true). The house their realtor is showing them at the opening of this book is called River House, but it’s also a site of many tragedies and deaths and madness, so much so that someone has taken a chisel and changed RIVER HOUSE on the gate column to RIVEN HOUSE. But the master of the crumbling old house is looking for caretakers to live on the property rent-free in exchange for upkeep work on the estate… but the master is the same writing professor in whose class they met–a professor Jess resents for trashing his debut novel in the New York Times, a review Jess is certain has kept him from breaking out as a major (best-selling) literary star. But the deal is too good to pass up, and Clare herself thinks moving there might help her restart her own writing…

Several of Goodman’s other novels tackle the world of the writer–The Stranger Behind You was a particular standout–and boy, could I relate to Clare’s fears and insecurities and anxieties about writing. To make matters worse, there also seems to be a ghost (or two, or maybe even three) at Riven House–but only Clare sees or experiences the haunting, to the point that she begins to question her own sanity. But why? Why would someone gaslight Clare, the wife of an underperforming novelist? There were some times in the book where Jess would be a bit of a emotionally abusive ass to her, and I would get a bit frustrated with her–a point I often had with the heroines of Victoria Holt and Phyllis A. Whitney–for subsuming herself and her needs and desires and dreams in service to his, and he doesn’t seem to appreciate it in the least. The ghost mystery has to do with tragedies in the path; the murder of an illegitimate child, the suicide of its mother, and madness and murder. Clare starts unraveling the mysteries from the past to get to the bottom of what is going on at Riven House–and there’s a marvelous, heart racing conclusion during a massive winter storm and power loss at Riven House, when Clare finally finds the truth and has to fight for her own life.

What a satisfying, thoroughly enjoyable read–which is what you always get from Carol Goodman. If you haven’t read her yet, START. Immediately.

You can thank me later.

Play with Fire

Well, I met quota again last night which was marvelous. It’s still a bit chilly this morning. By the weekend it should be back into the seventies (it was yesterday as I ran my errands after work; it’s sixty-one this morning but it does feel colder outside of my bed and blankets), as the Alabama and Kansas State fans start arriving for the Sugar Bowl. LSU is also playing on New Years’ Day in the Citrus Bowl against Purdue, which will probably be the only game I actually watch that day.

There’s been a conversation going on over at Book Twitter lately that doesn’t really impact me in any way, but it’s been kind of interesting to follow. The conversation has to do with concerns about what is and isn’t considered y/a fiction as well as what is, or should be, considered age-appropriate reading material for teenagers and pre-teens. It doesn’t impact me because no one considers me a young adult writer, for one thing; despite having written numerous books with younger and/or teenaged characters (Sorceress, Sleeping Angel, Sara, Lake Thirteen, Dark Tide, Bury Me in Shadows, #shedeservedit), most people think of me as a gay mystery writer. Everything published under my own name is a mystery novel of some sort, whether it’s one of the series books or one of the stand-alones. I’ve never really marketed myself as a writer of young adult fiction, really; I shy away from that, I think, because of The Virginia Incident and the subconscious fear that one day that controversy might resurrect itself (which is ludicrous, and I know that; it certainly would have by now and it hasn’t, which further proves my belief that The Incident had nothing to do with me or my writing or my career and everything to do with systemic homophobia and othering used for political gain). It just seems weird to me that in less than five years after that happened–when I was deemed a menace to America’s youth–I could publish books for teenagers without a single whiff of complaint or scandal or even the raise of a single eyebrow.

Interesting, isn’t it? Almost like the whole thing was just more smoke and mirrors whose sole intent was to rile the homophobic base.

I just love that my existence is considered by some as a constant and continued threat to children.

One of the things that has always mystified me over the years is what is and isn’t considered age-appropriate. Intellectually I was far more advanced that most of my classmates (my emotional and personal maturity being an entire other subject–I’d say I am still behind on that score) and I started reading early. The library and the Scholastic Book Fairs were my best friends as a child, and I read everything I could get my hands on. I loved history, from which grew an appreciation and love for historical fiction (which I really don’t read much of anymore, which is odd. I really want to read Hilary Mantel’s Cromwell books…) and of course, my grandmother got me interested in “scary” movies and mysteries.

You’d think I’d be a huge fan of historical mysteries, but I actually don’t read many of them. I did love Elizabeth Peters’ Amelia Peabody series, and I’ve become a huge fan of Laurie R. King’s Mary Russell series…I think exploring historical mysteries might be a project for 2023.

But the point was I was reading books far too advanced for most people my age when I was young. I freely will admit that in my first read of Gone with the Wind at age ten I didn’t know Rhett raped Scarlett the night of Ashley’s surprise birthday party–it wasn’t until a reread in my late teens where I thought oh, this isn’t right–let alone that she enjoyed being overpowered and forced. I also read The Godfather when I was ten, and there was no mistaking anything about Sonny Corleone and Lucy Mancini. He had a cock the size of a horse’s and her vagina was apparently the Lincoln Tunnel. (Although the she felt something burning pass between her thighs still mystifies me to this day.) I also read The Exorcist when I was ten and I was also very well aware of what was going on in the crucifix masturbation scene. As a kid, I was fascinated by these sex scenes (aka “the dirty parts”), and it wasn’t until I was older than I began to question the entire Sonny-Lucy thing (and why it was even in the book in the first place); and while the crucifix scene was gross, shocking and basically icky to me at ten–when I reread the book sometime in the past decade it seemed prurient, to be honest–used primarily for shock value and to get people to talk about it.

So, yes, I started reading books for adults when I was around ten. I also read Antonia Fraser’s Mary Queen of Scots and Robert K. Massie’s Nicholas and Alexandra that same year–I remember doing a book report on Mary Queen of Scots and my teacher not believing that I had read the thick volume; he started opening the book at random and asking me questions–which I was able to answer, so he grudgingly accepted the book report and gave me an A. (Teachers have doubted me all of my life; can’t imagine why I am insecure about my intelligence…)

Over the course of my teens I also read books by Harold Robbins, Sidney Sheldon, Jackie Collins, Jacqueline Susann and Gordon Merrick-every last one of them crammed to the gills with racy sex scenes. I was also reading Stephen King, Irving Wallace, Herman Wouk, Agatha Christie, Ellery Queen, Jean Plaidy, Victoria Holt, Phyllis A. Whitney and any number of authors who wrote for adult audiences not teens. Were there things in the books I didn’t understand? Sure there were. Were there things in those books that were probably inappropriate for teenagers? Undoubtedly. (I’ve also never forgotten the scene in Joyce Haber’s The Users where a Liza Minnelli-based character fucked herself with her own Oscar; some images are simply too vivid to forget methinks.)

This is one reason I shy away from calling some of my books with teenagers “young adult” novels. Megan Abbott’s Dare Me centered teenagers, but I would never consider Dare Me a young adult novel. I was thinking about this the other night while watching Sex Lives of College Girls (it’s hilarious, you really should be watching); can I authentically write about teenagers anymore? Have I ever been able to? I don’t speak their language anymore, and I haven’t been one in over forty years (!!!!); I don’t know the technology they use or their slang or what they watch or listen to. I don’t know what today’s teens think about virginity and sexuality these days; do the tired old tropes still exist? Does that whole “good girl/bad girl” dynamic still exist, or are today’s teenaged girls a bit more sophisticated than they were when I was in high school when it comes to sex and sexuality? (Contrasting two high school shows with queer content makes you wonder–there’s the jaded cynicism of the rich kids in Elite vs the wholesome purity and innocence and sweetness of Heartstopper, which also had me wondering–although I feel certain Heartstopper might be closer to reality than Elite…or that’s just my hope?) Of course I have other ideas for more books about young people–I have another in-progress one that’s been sitting around for a very long time that I need to repurpose–and I’d kind of like to write more at some point, but I don’t know. My suburban 70’s serial killer preying on teenaged boys book would be told from the perspective of a twelve year old, but it would definitely not be a young adult novel–but will probably be marketed and sold as one.

And on that note I am heading into the spice mines on my last day in the office for 2022. Check back in with you later, Constant Reader.

Come Sail Away

Nothing will get my attention more quickly than a Daphne du Maurier comparison.

I’d been meaning to get around to reading Ruth Ware since her The Woman in Cabin 10 broke her out in the crime writing community. I’d heard lots of good things about her work from reviewers and people on social media, and as her career continued to grow and develop it seemed like all of her books–while similar, in some ways, to each other–were rather dramatically different from each other. I began acquiring copies of her books, unable to decide where to start while each new one joined the TBR pile and began collecting dust. When I saw someone had compared her The Death of Mrs. Westaway to du Maurier and Rebecca, that got my attention and I decided to start there. I listened to it on one of my drives to Kentucky and loved, loved, LOVED it.

So, while planning for my recent trip up, I decided to listen to The Woman in Cabin 10, and have been admonishing myself for the lengthy delay in getting to it ever since finishing. It is quite excellent, and I am finding myself becoming quite a fan of Ruth Ware.

The first inkling that something was wrong was waking in darkness to find the cat pawing at my face. I must have forgotten to shut the kitchen door last night. Punishment for coming home drunk.

“Go away,” I groaned. Delilah mewed and butted me with her head. I tried to bury my face in the pillow but she continued rubbing herself against my ear, and eventually I rolled over and heartlessly pushed her off the bed.

She thumped to the floor with an indignant little meep and I pulled the duvet over my head, but even through the covers I could hear her scratching at the bottom of the door, rattling it in its frame.

The door was closed.

I sat up, my heart suddenly thumping, and Delilah leaped onto my bed with a glad little chirrup, but I snatched her to my chest, stilling her movements, listening.

I might well have forgotten to shut the kitchen door, or I could even have knocked it to without closing it properly. But my bedroom door opened outward–a quirk of the weird layout of my flat. There was no way Delilah could have shut herself inside. Someone must have closed it.

I sat, frozen, holding Delilah’s warm, panting body against my chest and trying to listen.

How’s that for a beginning?

I defy anyone to stop reading after those opening paragraphs, seriously.

Our main character turns out to be Laura Blacklock–nicknamed Lo–who is an aspiring travel journalist working as an assistant at Velocity magazine. Usually her boss is the one who gets to go on trips to write about the experience, but pregnancy has forced her to turn over a rather plum assignment to Lo; taking a cruise on a luxury ship through Scandinavia, including a look at the Northern Lights and exploratory visits to fjords. But as she is preparing for the trip, her flat is broken into while she is in it. This understandably causes her some trauma, and she is already taking medication for anxiety. Shaken up and still having nightmares, she boards the Aurora Borealis in a determined attempt to fulfill her job responsibilities well enough to get a promotion or better assignments. Easier said than done, really; on the first night she hears the toilet in the next cabin–Cabin 10–at the same time realizing she doesn’t have any mascara. She goes to Cabin 10, borrows mascara from a beautiful young woman, and returns to her cabin. Having a few drinks at dinner to calm her nerves even more, she keeps an eye out for the young woman, who never shows. In the middle of the night a sound in the next cabin wakes her, and she goes out onto her veranda to glance around the privacy screen. Before she can get out there she hears a cry, a clank, and a splash; once she is out there she thinks she sees a human hand disappearing into the water, and smear of blood on the glass screen next door. She gets the ship’s security, but Cabin 10 is empty. The man who was staying in there cancelled at the last minute. There is no trace of the girl she met, no trace of anything exceptional having happened in Cabin 10–and the only proof of her story is the mascara tube, which she still has.

No one believes her–and her recent break-in and the anxiety medications, along with the drinking she’s done, make it relatively easy for her claims to be dismissed. Certain she’s a peripheral witness to a murder, Lo starts poking around–eventually finding herself in danger.

I really enjoyed this book. Ware makes you care about Lo, and you root for her to get to the bottom of what’s going on aboard the Aurora. Ware is, indeed, a modern day writer of Gothics in the mid-to-late twentieth century traditions of duMaurier, Victoria Holt and Phyllis A. Whitney, with a generous dash of Mary Stewart as well. Is she being gaslighted, and if so, by whom and why? Who was the woman? What was she doing on board? Why was she murdered? The reader knows Lo is telling the truth, which is a brilliant way of getting reader buy-in for both the character and the story, and the gaslighting is done so well that even the reader sometimes has to question Lo’s sanity; was it alcohol and drug-related PTSD? But as the story progresses and Lo learns more and more about her fellow passengers–this is a press junket, so everyone on board is a professional travel journalist of some sort–she starts putting together the pieces and fragments of information she gathers that gradually reveal the picture of a very clever murderer who won’t stop at anything to get away with their crime, even if it means killing Lo.

Highly recommended–especially if you, like me, love the old books with the woman in a nightgown running away from a scary looking house with a light on in one window on the cover. Cannot wait to read some more of Ruth Ware.

Sidebar: the story itself is very Hitchcockian in style, and of course the gaslighting made me think of the great film Gaslight which defined the word into the vernacular…and made me also think, sadly, of what a greater masterpiece Gaslight might have been had Hitchcock also directed it.

The Dealer

Sunday morning in the Lost Apartment and I am feeling a bit bleary-eyed this morning. I slept magnificently last night; I didn’t want to arise from the nest of blankets in my comfortable bed this morning in the least. But arise I did, because there are things I must get done today and staying in the bed for a longer time than usual would not help accomplish anything except, you know, more pleasure of sleep.

We did finish watching Black Bird last night, which was an interesting show based on a true story and executive-produced by Dennis Lehane; in which a cop’s son turned bad gets a chance to get his sentence commuted if he goes into a prison for the criminally insane and gets a serial killer–whose appeal might earn his release–to confess to him. It was quite entertaining and more than a little intense, but I do recommend it. I don’t think it needed to be six episodes–I think it felt a little padded here and there to get to six episodes, which seems to be the American minimum/sweet spot for mini-series. We also started watching Five Days at Memorial, which is…interesting. It’s a dramatization based on a book and the true-life experiences of those who were trapped there after Katrina and the flooding; one thing that was absolutely spot-on was how everyone kept lapsing and calling the hospital “Baptist” instead of “Memorial”–the hospital had been bought out by Tenet Health and renamed in the years before the storm; it was a New Orleans thing as to how long it would take for the new name to catch on; I was still calling it “Baptist” to the point that even the title of the series took me aback; I actually did wonder before we started watching, was the name of the hospital Baptist Memorial and we all just called it Baptist? Mystery solved.

I did run my errands yesterday–it didn’t feel quite as miserable outside as I thought it would–and actually made dinner last night…meatballs in the slow cooker, but I also made them differently than I usually make slow-cooker meatballs, the recipe I donated to the Mystery Writers of America Cookbook; I added sour cream to the recipe, for one thing, as well as some other spices and vegetables in the sauce. They turned out really well–quite tasty, actually–and as I sliced bell peppers, celery and onions yesterday while the roux bubbled and browned, I remembered oh yes, I love to cook; I just never get the opportunity to do so anymore. Our work and sleep schedules are now completely out of sync, and the only time I ever cook anything is on the weekends. Today I do need to make things to take for lunch this week–the meatballs will only stretch so far, and I am starting the week in the office on Monday instead of Tuesday this week. I am also having Costco delivered this afternoon as well. I also need to get to work on my second-pass page proofs for a Streetcar today; they are due on my birthday, ironically, but I’d rather get them out of the way today. I also want to get some writing in today, if I am lucky and motivated; I need to start getting more focused and less concerned about other things and issues as well as getting distracted, which is getting easier and easier all the damned time. I know there’s medication for ADHD, but unfortunately it can also act like speed–and the last thing in the world I need is to take something that will make it harder for me to fall asleep.

Yeah, definitely don’t need something to keep me awake longer. (Although every night before I go to bed now I start drifting off to sleep in my easy chair, which is so fucking lovely you have no idea.)

I’ve been reading some non-fiction lately; my mind hasn’t been clear or steady enough to continue reading fiction–a malaise that has come and gone since the beginning of the pandemic in 2020–so I’ve been focusing more on non-fiction when I am reading lately. I’ve got a really interesting book called Charlie Chan: The Untold Story of the Honorable Detective and His Rendezvous with American History by Yunte Huang, which is absolutely fascinating. I loved the Charlie Chan movies when I was a kid (neither knowing nor comprehending how racist they were, not to mention their “yellowface” aspects)–again, the influence of my grandmother–and I read some of the Earl Derr Biggers novels when I was a teenager. I am really interested in getting into the meat of this book, since the character was beloved but is problematic in our more enlightened time; can the stories and the character be reclaimed from the morass of stereotyping and cultural colonialism the books and films were steeped in so deeply? Reading the introduction to the book yesterday did again make me feel like gosh, I wish I was educated enough in criticism and the writing of non-fiction to produce this type of work; there are any number of books and writers and characters I would love to explore and dissect and deconstruct. But alas, I do not have that background or education, nor do I have the necessary egotism/self-confidence in my own intellect to believe that I could come up with anything interesting or constructive or scintillatingly brilliant to say that hasn’t already been side (although I have an interesting take on Rebecca I would love to write about someday). I’d love to write about the heyday of romantic suspense and the women who hit the bestseller lists throughout the 50’s-80’s writing those books (Whitney, Stewart, Holt being the holy trinity); deconstructing the themes and tropes and tracing their evolution as the role of women in society began to change during the decades they wrote their novels.

I also bought an ebook about the children of Nazis, which is something that has always fascinated me; how did and have Germany and Germans dealt with, and continue to deal with, their horrific and genocidal past?

Obviously, as a Southerner, I am curious to see how one deals with a horrific history.

And on that note, I am heading into the spice mines. Y’all have a lovely Sunday, and I will check in with you again tomorrow.