Gerard Freeman, at age ten, sneaks into his mother's room and unlocks a secret drawer, only to find a picture of a woman he has never seen before, but one that he will find again and again. His mother discovers him and gives him the beating of his life. Why this excessive reaction? She is a worried, paranoid, thin, and fretful type with an "anxious, haunted look." By tale's end, we know why.
Phyllis Freeman, Gerard's mother, was happiest when speaking fondly of Staplefield, her childhood home, where there were things they "didnt have in Mawson [Australia], chaffinches and mayflies and foxgloves and hawthorn, coopers and farriers and old Mr. Bartholomew who delivered fresh milk and eggs to their house with his horse and cart." It's the sort of childhood idyll that the timid and lonely Gerard believes in and longs for. He strikes up a correspondence with an English "penfriend," Alice Jessel, when he is 13 and a half, living in a desolate place with a frantic mother and a silent father. She is his age, her parents were killed in an accident and she has been crippled by it. She now lives in an institution, whose grounds she describes as much the way Staplefield looked. They go through young adulthood together, in letters only, thousands of miles apart, eventuallydeclaring their love for one another.
Interwoven with the narrative of Alice and Gerard's letters are real ghost stories, the creation of Gerard's great-grandmother, Viola. At first, they seem to be scary Victorian tales of the supernatural. Then, we see that they have a spooky way of mirroring, or preceding, events in real life, off the page. Gerard comes upon them, one by one, in mysterious ways, but clearly something, or someone, is leading him. The stories seem to implicate his mother in some nefarious goings-on, but the truth is far worse than Gerard imagines.
Any more would be telling too much. Turn on all the lights in the house when you settle down with this one, and plan to spend a long time reading because you will be lost in the story immediately. --Valerie Ryan
From Publishers Weekly
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