strange and random happenstance

The Plague Court Murders by John Dickson Carr
Published by: American Mystery Classics
Publication Date: 1934
Format: Kindle, 305 Pages
Rating: ★★
To Buy (different edition than one reviewed)

One night in his club Ken Blake sees fellow member Dean Halliday in extremis. He offers his help and Halliday gladly accepts, provided that Blake keeps an open mind. Halliday's life is falling apart because of a psychical researcher and his medium. Dean's brother died recently and his Aunt, Lady Anne Benning, turned to Roger Darworth to connect to James beyond the veil. Darworth claims that James will not rest until the ghosts of Plague Court are put to rest. Plague Court is a grim property long reputed to be haunted. The Halliday's acquired it in the 18th century but it's name comes from a disgraced hangman, Louis Playge, who was the brother of the steward under the previous owner and died of the black death after viciously attacking the family with a unique knife he used to cut the hanged men down and is rumored to be buried on the property. It is his ghost that supposedly haunts it's halls. Halliday wants to prove that Darworth is a fake. Which is extra hard seeing as Darworth claims to have no abilities of his own and that those lie in his assistant, Joseph. Blake suggests bringing in his friend Chief-Inspector Humphrey Masters who happens to dabble in a bit of ghost hunting in his spare time and loves nothing more than exposing fake mediums and Halliday acquiesces. Masters is particularly pleased given the fact that the Playge Dagger was just stolen from a London museum and he's had his eye on Darworth for years and he's sure the two must be connected when he hears Halliday's tale of woe. When the trio arrives at Plague Court they are surprised to find people in residence. Halliday's Aunt Anne, his fiance Marion Latimer, Marion's brother Ted, and Major Featheron are all sitting in the bleak house holding some sort of vigil. It appears that tonight is the night that Darworth has decided to lay the ghost of Louise Playge to rest. He has sequestered himself in a little stone hut in the back. He's locked in the room from both the inside and the outside. So naturally, when he turns up dead with Louis Playge's dagger in his back everyone is flummoxed. There was no way to enter the structure and what's more, given the expanse of mud surrounding the building without a single footprint the crime is impossible. Which means it's time to call in the experts. It's time to call in Sir Henry Merrivale.

Original published under John Dickson Carr's "impenetrable" pseudonym Carter Dickson one can't say that the author didn't believe in fair play, even in choosing his nom de plume. Which, really, is a relief. I don't like mysteries where the reader can't figure out the killer, and yes, I'm glaring at you Josephine Tey! You can't introduce characters who have never even been introduced or mentioned in the entire book in your solution! That's not fair! Hence, fair play. And I don't want to brag, but I almost had the whole solution, I didn't realize that one person was disguised and I was wrong about which police officer was corrupt, but other than that, I was right there with Sir Henry Merrivale. And Sir Henry Merrivale is the reason I read this book. I was compiling my Christmas reading and I had added the newly reissued Carter Dickson book, The White Priory Murders, to my list when I realized it was the second in the series. Which, because of how I'm built, meant I had to read the first book in the series, The Plague Court Murders. Thankfully my library had a copy and it sounded suitably spooky to pair with my Halloween reading before I moved on to my Christmas reading. So I dove in. And honestly, it's hard to pinpoint what exactly about this book doesn't work. Seances, psychics, locked rooms, all of it is things that I just love. Plus with the bleak history of Plague Court oozing House of Usher vibes, I really wanted to like it, but I just didn't. The narrator, Ken Blake, is problematic. He just wasn't good. He was too bland. Too much a cipher. I just couldn't get a read on him. He was unable to carry the narrative until Sir Henry Merrivale finally arrived over halfway through the book. By that point I wasn't really invested in the story. My interest could not be reinvigorated by Sir Henry's interest. And then there's my main gripe, it is really annoying and every blurb of this book gets it wrong. Plague Court is named after Louis Playge, the disgraced hangman who died of the plague and was supposedly buried on the property. Louis Playge was the brother of George Playge, who was steward to Lord Seagrave, who was the owner of the property that became known was Plague Court. And Thomas Frederick Halliday bought it from Lord Seagrave in 1711. There was never a Playge owner! So why is it called Plague Court? Because of the ghost stories surrounding Louis Playge? Some enduring urban legend? Now THIS is the mystery that I want answered.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Carter Dickson, Fair Play, John Dickson Carr, Josephine Tey, Locked Room, Louis Playge, Murder Most Foul, Plague Court, Psychic, Seance, Sir Henry Merrivale, The Plague Court Murders, The White Priory Murders

Spoonbenders by Daryl Gregory
Published by: Knopf
Publication Date: June 27th, 2017
Format: Kindle, 416 Pages
Rating: ★★
To Buy (different edition than one reviewed)

Fourteen year old Matty Telemachus rather awkwardly finds out he can astrally project. He's just thinking inappropriate thoughts about his cousin Mary Alice and discovers that when he's sexually aroused or, in this first instance, masterbating, he can leave his body behind. Which makes him wonder, is he unique or are his gifts inherited? It turns out that his family is none other than the Amazing Telemachus Family. They were the darlings of TV talk shows until they imploded on air. Which means no one in the family will talk to Matty about their past. Which makes him start digging. His grandfather and grandmother met in a government study into psychic powers. Teddy had conned his way in but Maureen was a genuine psychic. They fell in love and married, having three children. Irene, Matty's mother, is a human lie detector, Frankie is telekinetic, and Buddy can see the future. But the past is in the past and the family's powers have done nothing but destroy their lives, turning them into barely functional adults. Irene can't hold down a job or maintain a stable relationship, Frankie has used his powers for nefarious means and is now in deep with the mob, and Buddy, well, Buddy spends his time digging holes in the backyard and is practically nonverbal. In fact, when Frankie realizes his nephew has been perving on his daughter instead of taking him to task he decides to use Matty to help free himself from the mob. His genius plan is to rob the mob and then pay back his debt with their own money. No matter how "amazing" his family once was, any sane person can see that this plan is flawed. But Frankie, and the whole family, is desperate. Their mother was their rock and without her the family is spiraling. And now the CIA have come knocking. They were reviewing their files from Project Stargate and were wondering if any of the newest generation of family members had started exhibiting powers. Little do they know about Matty... Who might just be the key to solving all their problems, but not as Frankie had planned. The family is in for a reckoning and their whole world is about to change.

I feel like I've been swindled by Teddy Telemachus. If you read the actual blurb of the book you think this is going to be a romp about a gifted family. And it is not that. At all. This was a bait and switch. The best character, Maureen Telemachus, is dead and gone by the time the action starts, and the family isn't just dysfunctional but I dislike them all. Deeply. I was hoping for nostalgic television talk shows with psychic stunts, and instead this is just your basic boring Chicago mafia tale. With a whole heap of nineties historical inaccuracies. I assume the other decades also have historical inaccuracies, but I just caught the blatant ones from my childhood. A SNES doesn't have a standby light. It does have a light when the power is on. No standby light. And these inaccuracies just made me more annoyed with the book than I can adequately explain. It wasn't just that this wasn't the book I thought it would be, it was that it just wasn't a good book. Because having a deceptive blurb isn't the end of the world. In fact a book I read quite recently was nothing like I thought it would be and yet it still completely won me over. So much so that I had to order the sequel from England so that I could read it a full month early because of the US publication date not being synchronous. But all of these pale in comparison to my problem with Matty. Um, how are we supposed to feel about Matty? Because he really creeps me out. I know his cousin Mary Alice is adopted, thus skirting the whole incest vibe, but, um... Is he supposed to be the hero? Or is he supposed to embody how flawed the family is? Because as I said before and will say again, he just creeps me out. I read enough books with gifted people to know that emotion can trigger their powers, but did it have to be masterbating? And masterbating to thoughts of his cousin? Oh, and then when he can't trigger his powers near the end of the book when it's necessary to save their family Mary Alice lets him cop a feel!?! Ew, no, ick. I did not sign up for pervy incestuous teenagers trying to take down the mafia. I wish I could expunge this book from my mind because I feel dirty.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Amazing Telemachus Family, Astral Projection, Chicago, Daryl Gregory, For the Love of Book Clubs, Lie Detector, Mafia, Masturbation, Nineties, Project Stargate, Psychic, SNES, Spoonbenders, Talk Shows, Telekinetic

Murder at the Elms by Alyssa Maxwell
Published by: Kensington Publishing Corporation
Publication Date: August 22nd, 2023
Format: Hardcover, 304 Pages
To Buy

The official patter:
"For fans of HBO's The Gilded Age, the glorious mansions of Newport house many mysteries - murder, theft, scandal - and no one is more adept at solving them than reporter Emma Andrews...

1901: Back from their honeymoon in Italy, Emma and Derrick are adapting to married life as they return to their duties at their jointly owned newspaper, the Newport Messenger. The Elms, coal baron Edward Berwind's newly completed Bellevue Avenue estate, is newsworthy for two reasons: A modern mansion for the new century, it is one of the first homes in America to be wired for electricity with no backup power system, generated by coal from Berwind's own mines. And their servants - with a single exception - have all gone on strike to protest their working conditions. Summarily dismissing and replacing his staff with cool and callous efficiency, Berwind throws a grand party to showcase the marvels of his new "cottage."

Emma and Derrick are invited to the fete, which culminates not only in a fabulous musicale but an unforeseen tragedy--a chambermaid is found dead in the coal tunnel. In short order, it is also discovered that a guest's diamond necklace is missing and a laborer has disappeared.

Detective Jesse Whyte entreats Emma and Derrick to help with the investigation and determine whether the murdered maid and stolen necklace are connected. As the dark deeds cast a shadow over the blazing mansion, it's up to Emma to shine a light on the culprit..."

I've been dreaming of spending the waning days of summer in Newport...

The Case of the Dead Domestic by Tam May
Published by: Dreambook Press
Publication Date: August 22nd, 2023
Format: Kindle, 221 Pages
To Buy

The official patter:
"A lady's maid is getting too big for her britches. But does that justify murder?

Everyone agreed: Arabella Parnell thought far too highly of herself. She worked her way up from scullery maid to lady's maid for one of Arrojo's finest families and personal friends of the mayor. She wrote letters to her former employer as if they were comrades. She flirted with some of the most prominent young men in the county.

So the Arrojo police were hardly surprised when they find her dead among the shrubbery in a wealthy bachelor's conservatory.

And yet, amateur sleuth and suffragist Adele Gossling can't help but wonder: Who was Arabella Parnell? Was she just a servant with arrogant manners and too much self-assurance? Or was she the victim of the pride and passions of powerful men, one of whom did her in? With only a hair comb, a broach, and a candlestick to go on, can Adele solve this case?

Read how Adele and her psychic friend Nin unravel a shocking and twisted case inspired by a real-life early 20th-century unsolved crime!

Enjoy the sixth book of this series featuring the sleuth with, as one reviewer puts it, "a wonderful mixture of sassiness and sensitivity.""

I don't know how I've missed this series until now, but thankfully I've found it and already got the first book!

Knockout by Sarah MacLean
Published by: Avon Books
Publication Date: August 22nd, 2023
Format: Paperback, 416 Pages
To Buy

The official patter:
"New York Times bestselling author Sarah MacLean returns with the next Hell's Belles novel about a chaotic bluestocking and the buttoned-up detective enlisted to keep her out of trouble (spoiler: She is the trouble).

With her headful of wild curls and wilder ideas and an unabashed love of experiments and explosives, society has labeled Lady Imogen Loveless peculiar...and doesn't know she's one of the Hell's Belles - a group of vigilantes operating outside the notice of most of London.

Thomas Peck is not most of London. The brilliant detective fought his way off the streets and into a promising career through sheer force of will and a keen ability to see things others miss, like the fact that Imogen isn't peculiar...she's pandemonium. If you ask him, she requires a keeper. When her powerful family discovers her late-night activities, they couldn't agree more...and they know just the man for the task.

Thomas wants nothing to do with guarding Imogen. He is a grown man with a proper job and no time for the lady's incendiary chaos, no matter how lushly it is packaged. But some assignments are too explosive to pass up, and the gruff detective is soon caught up in Imogen's world, full of her bold smiles and burning secrets...and a fiery passion that threatens to consume them both."

One day Avon will approve my ARC requests... Until that day I have to wait like everyone else for the new Sarah MacLean books....

Miss Morton and the Spirits of the Underworld by Catherine Lloyd
Published by: Kensington Publishing Corporation
Publication Date: August 22nd, 2023
Format: Hardcover, 304 Pages
To Buy

The official patter:
"Set against the timelessly intriguing backdrop of 1830s high-society London, this delightful historical mystery series features Miss Caroline Morton, daughter of a disgraced earl, now gainfully employed as a lady's companion - along with a sideline in sleuthing...

Lady Caroline is happy to be back amid the swirl of London society, guiding her employer's daughter, Dorothy Frogerton, through her first Season. Dorothy has been declared "an original" by a patron of the exclusive social club, Almack's, and is sifting through potential suitors. Mrs. Frogerton, meanwhile, finds her own diversions, including spiritualist gatherings at the home of Madam Lavinia, and begs Caroline to come along.

Caroline is skeptical of Madam's antics and faux French accent - until she slips a note into Caroline's hand, which contains intimate family knowledge. Even as Caroline tries to discern whether the spiritualist's powers are real, a much darker mystery presents itself. Madam Lavinia is found lifeless in her chair, a half-empty glass of port at her elbow. In her desk is a note addressed to Caroline, entreating her to find her murderer.

Caroline needs no psychic abilities to determine a motive, for it seems that Madam was blackmailing some of her clients and has left a trail of aggrieved aristocrats behind. But as Caroline and Mrs. Frogerton investigate further, they find other suspects, and a litany of deceptions, some very close to home. Now Caroline will need to keep all her wits about her if she is to stop others from joining Madam Lavinia in the afterlife..."

Oh yes, a dead dubious psychic!

Strange Unearthly Things by Kelly Creagh
Published by: Viking Books for Young Readers
Publication Date: August 22nd, 2023
Format: Hardcover, 368 Pages
To Buy

The official patter:
"A hauntingly romantic paranormal Jane Eyre reimagining, by the author of Phantom Heart!

Eighteen-year-old Jane Reye is a psychic artist. She draws what she sees, and what she sees are spirits and the supernatural. Growing up orphaned, she's now of legal age and can no longer return to the girls' school she's called home for most of her life. Lost and alone after the death of her lifelong friend, she receives an invitation to partake in a study at the English manor Fairfax Hall: an investigation of the property that requires her specific area of expertise. Upon arrival, Jane understands this will be no ordinary study when she meets Elias Thornfield, the elusive proprietor of the estate, a boy her age, roguishly handsome, who dons a mysterious eye patch. During the study it becomes clear that something is amiss - something having to do with Elias and the spiritual activity taking place around the manor. Turning to her art to unravel the mystery, Jane is shocked to find that her talents - and her growing affection for Elias - could be the key to saving him from a horrible fate."

Oh yes, not just Jane Eyre, but one with a haunted house and the more artistic version of automatic writing!

Foxglove by Adalyn Grace
Published by: Little, Brown Books for Young Readers
Publication Date: August 22nd, 2023
Format: Hardcover, 464 Pages
To Buy

The official patter:
"The captivating sequel to the New York Times bestselling, Gothic-infused Belladonna, in which Signa and Death face a supernatural foe determined to tear them apart.

A duke has been murdered. The lord of Thorn Grove has been framed. And Fate, the elusive brother of Death, has taken up residence in a sumptuous palace nearby. He's hell-bent on revenge after Death took the life of the woman he loved many years ago...and now he's determined to have Signa for himself, no matter the cost.

Signa and her cousin Blythe are certain that Fate can save Elijah Hawthorne from wrongful imprisonment if the girls will entertain Fate's presence. But the more time they spend with him, the more frightening their reality becomes as Signa exhibits dramatic new powers that link her to Fate's past. With mysteries and danger around every corner, the cousins must decide whom they can trust as they navigate their futures in high society, unravel the murders that haunt their family, and play Fate's unexpected games - all with their destinies hanging in the balance.

Daring, suspenseful, and seductive, this sequel to Death and Signa's story is as utterly romantic as it is perfectly deadly."

Damn, I can't wait to read this.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Adalyn Grace, Alyssa Maxwell, Belladonna, Catherine Lloyd, Foxglove, Gothic, Hell's Belles, Jane Eyre, Kelly Creagh, London, Murder at the Elms, Newport, Psychic, Reimagining, Sarah MacLean, Tam May, The Gilded Age

So Nicola Pagett is a woman unhappy in her marriage and pregnant by a man other than her husband. And no, this isn't season two of Upstairs, Downstairs, this is Anna Karenina. Though you could be forgiven for mistaking one for the other if you took out the fact that I like Karenin far more than I ever liked Lawrence Kirbridge. Moving on, I should put in a train reference here but I'm just not that witty today... Anna Karenina is a classic that I have been meaning to read for forever, have not gotten around to, knew it ended with Anna's death under a train, and eventually just decided to watch the miniseries. Because if there's one thing you can be certain of, this is the definitive adaptation. Yes, there have been many movies, yes, there have been quite a few other television adaptations, but are any of them ten episodes long and bother to included the somnambulist psychic Landau? No they do not! And I'm sorry, but Landau became my favorite character with only a single scene. He's basically Rasputin if he was played by Seth Green. Seriously, one scene just wasn't enough! What I loved about this series is that it makes you believe at all times that it is a true epic, but with a very human element, which is what the best epics are. There's love and betrayal and wonderful snarky society snubs that surely had to inspire Edith Wharton when she sat down to write The Age of Innocence. There's all this great grandness, even the palace from Netflix's recent adaptation of Shadow and Bone gets a look in, but at the end it's about Anna. And my feelings about Anna are complicated. I get the whole, she is trapped by the strictures of society of how a woman should behave and therefore her only option is suicide. But on the other hand, time and time again she is given options, she is given other ways she could live, and she chooses that which will make everyone as miserable as her. She makes people suffer for loving her. She has a slightly justified persecution complex, but one wonders, as she herself does, even if she hadn't found Vronsky was it all just inevitable? Was her life destined for entropy? All I know is that unlike some of the series I've watched for the first time for Fifty Years a Masterpiece, this is one I want to watch again. I want to live in the epic sweep of Russia. I want to admire the sets and the costumes again. I want to watch the tragedy play out. I also want to take joy in that small bit of happiness that Levin, AKA Russian Jim Henson, ekes out for himself.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Anna Karenina, Edith Wharton, Fifty Years a Masterpiece, Jim Henson, Landau, Nicola Pagett, Psychic, Rasputin, Seth Green, Shadow and Bone, Suicide, The Age of Innocence, Trains, Upstairs Downstairs, Vronsky

Don't Look Now
Based on the short story by Daphne Du Maurier
Starring: Donald Sutherland, Julie Christie, Hilary Mason, Clelia Matania, Sharon Williams, Nicholas Salter, Leopoldo Trieste, Massimo Serato, Renato Scarpa, Bruno Cattaneo, David Tree, Ann Rye, and Adelina Poerio
Release Date: October 16th, 1973
Rating: ★★★
To Buy

John and Laura Baxter are trying to pick up the pieces of their life after their young daughter Christine's death by accidental drowning in their backyard. Now in Venice John is working to restore a church while his wife is mired in her grief. Taking off time from work John takes Laura out to lunch where she helps two elderly sisters in the bathroom of the restaurant. One of the sisters is blind and claims to not only be psychic but to see Christine. This revelation has a profound effect on Laura. She collapses at the restaurant but later, back at their hotel, John and her passionately reconnect. Laura makes plans to meet the sisters again and try to contact Christine in a seance. Christine has one message, her father must leave Venice. He is in danger. The threat is unclear and John thinks it's a trick the sisters are playing on him and his wife and is angry. What does he have to fear in Venice?

Maybe the threat isn't in Venice? There's a late night phone call from their son's boarding school saying he has been in an accident. Laura rushes to England but when she is supposed to be homeward bound John sees her with the sisters making a stately procession down one of the canals. Convinced that the sisters tricked his wife into staying behind when their son needs her he frantically searches Venice for the three of them, actually going to the police in the end. But the police have their hands full with a recent spate of murders. In fact they find John's story so unlikely that they think he might just be involved in the murders somehow. When John finally finds Laura she is in England. But how? And more importantly, all this is detracting from the warning. John is still in Venice... is this wise?

Don't Look Now is the only adaptation of her work that Daphne Du Maurier ever blessed with her seal of approval. Frankly it's quite easy to see why she liked this most of all the various adaptations of her work. Don't Look Now remains true to the spirit of her short story. Instead of drastically changing locals or time frames or having Mrs. Danvers self immolate Nicholas Roeg took what Du Maurier had written and used it as a framework and built on it. Everything that happens seems like a natural progression of the short story from the page to the screen. What's more, many of the faults of the story, smug narration, a lack of foreshadowing, are eliminated by the simple expedient of the visual medium of film being able to show us instead of tell us. What I felt worked best was that Roeg carried various thematic imagery through the film but tied it back more firmly to the loss of Christine.

In Du Maurier's short story Christine's death is the driving force of the story but at the same time an afterthought. Her death from meningitis distances the reader. It's rare this could happen to them. But by having Christine drown in an accident it's more relatable. This could happen to anyone. Plus Venice being a city on water the threat of drowning is constantly present. With water and mirrors there is this reflective quality used throughout the film not just being a constant reminder of Christine's death but how it reflects back on her parents and on us. In fact I was reminded again and again of the Michael Caine classic, Dressed to Kill. Don't Look Now has that same feeling of relevancy and horror despite being made over forty years ago.

Seeing Christine's more relatable death isn't the only way Roeg makes the trauma more real. In Du Maurier's story John and Laura are in Venice on holiday, which, to an extent, makes them feel a little uncaring to the reader. Let's just forget about our dead daughter and our grieving son at boarding school and take a little trip shall we? Yeah, not the most sympathetic of characters. In the film John is in Venice for work. By them being in Venice for work and not play makes their suffering more alive. They aren't just trying to brush it under the carpet, they aren't just trying to make do and mend, they are still trapped in the sorrow but are attempting to keep moving forward. John is burying himself in work so that he won't constantly be in pain.

Their pain is a constant presence throughout the film and this connects you to John and Laura. Anyone with an once of empathy has to feel something for them. The scene that really struck me as getting to the heart of their relationship and therefore their story was a rather graphic sex scene, bizarre armpit licking and all. The reason this scene works is it shows two humans groping toward each other, trying to connect; yet at the same time it shows the distance that has grown up between them. They are physically together but mentally apart. This scene, which is a little uncomfortable to watch, is heartbreaking. To be together and apart simultaneously, it shows us, without anything but action, what grief and despair really are.

Roeg is also able to show the seedy side of Venice. This isn't a holiday for John and his wife, they are there off season. Venice is cold and wet and full of pigeons. In the story it's almost tourist perfect, with the murders shoved as far in the background as possible until that salient plot point can't be avoided. Hence when "the end" comes you missed all the clues because Du Maurier used them so sparingly, perhaps wanting that shock to the system at the very end. Roeg uses the murders ubiquitously, but in the background. Always there, always waiting, adding a level of danger, suffusing it throughout the film but never drawing too much attention to it. I loved how one of the sisters described Venice as being "a city in aspic inhabited by the dead." There's poetry and morbidity and danger all in that one phrase. Here there are alleys and shadows and mystery. Running and rushing and the feeling of danger. We aren't just stuck in John's head, we are running along beside him.

Yet the pay dirt of the film is the inclusion of the church. This is introduced by the simple expedient of John being a church restorer. Though why it's brilliant is because it gives the story balance. We have the supernatural ever present with the sisters and their premonitions. The supernatural was built in from the get go. Yet skepticism doesn't quite balance belief in the supernatural. Skepticism can't destroy evil, only good can, and that would be embodied by the church. This addition also helps to place the film strongly amongst it's peers. Good versus evil and the church were part of the zeitgeist of the early seventies. Rosemary's Baby, The Exorcist, The Omen, the classics of the occult horror genre all had this dichotomy. To include it in Don't Look Now? Where it logically fit? It would have been stupid not to and Roeg was cunning in his adaptation. He knew just what to add and just how to do it. No wonder Du Maurier gave it two thumbs up.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Daphne Du Maurier, Don't Look Now, Donald Sutherland, Drowning, Du Maurier December Deux, Grief, Murder, Nicholas Roeg, Psychic, Rosemary's Baby, Seances, Sex, The Exorcist, The Omen, Venice, Warning

Don't Look Now by Daphne Du Maurier
Published by: NYRB Classics
Publication Date: October 28th, 2008
Format: Paperback, 368 Pages
Rating: ★★
To Buy

John and Laura have gone to Venice in the hopes of putting the past behind them by revisiting places they loved when they were whole. They haven't been whole for awhile. They have been drifting apart, trapped in depression since the death of their daughter Christine due to meningitis. Venice is supposed to reinvigorate them. Instead what starts as a pleasant trip soon turns incomprehensible. One day they see elderly twin sisters in a restaurant. Laura runs into them in the restroom and discovers that one of the sisters is blind and claims to be a psychic. She tells Laura that she sees Christine there with her and her husband and that she is happy. When Laura tells John this story he claims they are nothing more than charlatans and goes out of his way to avoid them. Yet fate has other plans. That night after getting lost in the labyrinth of Venice they again meet the sisters in a restaurant and the sisters are very enthusiastic to meet Laura again.

John, in his cynicism, thinks it's the sisters sinking their claws into Laura, while Laura insists it's because the sisters have a message for John from Christine; he is to leave Venice at once because he is in danger. John scoffs at this but when they get back to their hotel there's a message that their son Johnnie, who is away at boarding school, is sick with appendicitis and Laura thinks this is the reason that Christine wanted them to leave. Laura is able to get an early flight out but John has to wait. When the plane was supposed to be in the air he sees his wife and the sisters on the grand canal. Thinking there must have been a mix up or the sisters are up to something he spends the day trying to find his wife and the sisters. But perhaps he should have paid more attention to Christine's warning and the sister's insight that John himself has the power of psychic understanding.

"Don't Look Now" is an odd little story, perhaps best remembered by the movie with the same name. The problem I faced with this story is that we are given this glimpse into the marriage of John and Laura but it's as if we are looking through glass from the famous Murano workshops. There's this weird distance that stops us from forming any real connection with the couple. This entire story is written in such a way that the reader always feels like an outsider. It's not just the lack of connection with John and Laura but "Don't Look Now" was written with an insider's knowledge of Venice. Of course during the time period Du Maurier wrote this story her readers would have been more familiar with Venice as it was a common tourist destination but that doesn't help me. I've sadly never been to Venice so the way John rattles off locales makes me think he's smug and is just another way I am excluded from becoming a part of the story. But then again, John is kind of an idiot. His ham-handed approach to finding his wife to his complete unwillingness to actually listen to the sisters means he gets what's coming to him. As for the supernatural of it all? Du Maurier has done better, but that ending. It is a shocker. Mostly because it was so vaguely foreshadowed.

But if you've only read Daphne Du Maurier's novels you truly haven't experienced her range as an author. Yes, her novels are some of the best and most beautifully written and suspenseful books you'll ever read from Rebecca to Jamaica Inn to The Scapegoat, but they often cover the same ground and don't even touch on the supernatural and strange that her short stories, such as "Don't Look Now" and "The Birds" delve into. It's like Du Maurier felt a freedom in this shorter format that let her handle the outre, the other, and the persecuted that will surprise you in their range and occasional depravity. Each story is easily worthy of Rod Serling and The Twilight Zone with a supernatural agency at work in the everyday lives of our heroes and heroines that is never quite fully explained. In "Blue Lenses" Mrs. Marda West has ocular surgery with special lenses inserted to regain her sight only to open her eyes and see that everyone has an animal's head. At first she thinks it's a joke being perpetrated on her but soon comes to realize that these visions are giving her insight into the true nature of people. People whom she trusted are animals of dubious nature and ill repute.

"The Blue Lenses," besides showing this "otherness," showcases an ongoing theme in these shorter works. Du Maurier's protagonists often think that they are the object of a joke being played at their expense. They are the victim of a con and the proper authorities are often viewed as conspiring against them. From "Split Second" to "La Sainte-Vierge" to "Don't Look Now" to the aforementioned "Blue Lenses" delusion and trickery are what everything hinges on. But this paranoia that has these people confused by what they see, hoping they are mistaken, actually shines a light on Du Maurier's true interest, plumbing the depths of humanity. The fact that these characters are so willing to believe that someone would go to the trouble of conning them shows a fear of the "other," a fear of what people are capable of. Because looking deeper, past the supernatural trappings, at the root these stories show that people are capable of murder.

In fact sometimes Du Maurier forgoes the supernatural entirely and tells a tale that is, in the end, just about murder. In fact my favorite story, "Kiss Me Again Stranger," is about a troubled girl who kills RAF men she meets. Of course it wouldn't be a true Du Maurier story if you weren't bamboozled into thinking it was a love story until the very last page, but again and again that is why these stories work, she is continually subverting your expectations. Yes you could boil this all down to man versus nature, be it's man's inner nature or actual nature or something against nature, but trying to condense it down does an injustice to the writing. Du Maurier through stories about killer birds, "The Birds," and killer usherettes, "Kiss Me Again Stranger," and women joining mountain cults that may be leper colonies, "Monte Verità," touches on so many truths and so many weighty topics that you can see why she was always miffed that people called her a "romance" author. She is so much more. If you don't believe, just pick up this book. I think it will change your mind.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Daphne Du Maurier, Don't Look Now, Du Maurier December Deux, Jamaica Inn, Kiss Me Again Stranger, Monte Verita, Psychic, Rebecca, Rod Serling, Short Story, The Birds, The Scapegoat, The Twilight Zone, Venice