Ruth Ware’s fourth novel, The Death of Mrs. Westaway, seems to draw a lot of its inspiration from Daphne DuMaurier’s Rebecca. There’s a Cornish mansion, a sinister housekeeper, secrets galore, and a young heroine who has no idea what lies ahead of her when she arrives at the stately home.
Hal (née Harriet) Westaway is dead broke—in fact, she’s in debt to a loan shark—when she receives a letter from an attorney informing her that her grandmother has died and Hal is a beneficiary of her will. This comes as something of a shock, since the parents of her late single mother Margarida Westaway, are both dead. Hal figures it has to be a mistake, but perhaps all she needs to do is show up for the funeral and reading of the will, and if she’s lucky, she’ll inherit enough money to make her problems go away. So she takes the train down to Penzance and finds herself at Trepassen House, a crumbling, ivy-covered estate. The housekeeper, Mrs. Warren, is decidedly unfriendly, putting Hal up in a freezing attic room with a barred window and locks on the outside of the door.
Eventually, Hal meets the late Mrs. Westaway’s offspring and their respective families, who don’t exactly give her a warm welcome either. Somehow, she needs to figure out a way to trick them all into believing that she is the daughter of their long-lost sister Maud, who disappeared without a trace many years ago, without seeming like so much of a threat that somebody will be tempted to kill her in order to keep all those secrets intact.
Hal is a clever and resourceful heroine and I found the book to be great fun, if a bit portentous at times. (“There was a sudden spatter of fresh rain against the glass, and she thought she heard—though perhaps it was her fancy—the far-off sound of waves against a shore. An image came into Hal’s mind—of rising waters, closing above all of their heads, while Mrs. Westaway laughed from beyond the grave…”) But for those of us who enjoy this gloriously Gothic type of novel, The Death of Mrs. Westaway offers solid summertime entertainment.
I read a lot of books that are primarily plot-driven, but I read Meg Wolitzer’s books because they’re character-driven: she writes so brilliantly about people and what makes them tick. Her 2013 novel The Interestings followed a group of six teenagers who meet at a summer camp, taking them from youth to middle age. The main character in The Female Persuasion, Greer Kadetsky, is only in her early 30s when the book ends, but her mentor, feminist icon Faith Frank, is nearing 80, and the trajectory of Faith’s life may serve as a preview of the difficult choices, sacrifices and compromises which will eventually be faced by Greer.
Greer is a college freshman when a chance encounter with Faith changes the course of her life. After graduation, she goes to work for Faith’s new foundation, Loci, which is well-funded by a venture capitalist. Faith (and Greer) hope they can use the money to help struggling women around the world, but the people who hold the purse strings are more concerned with providing feel-good workshops to affluent Americans. (The descriptions of Loci’s leadership summits sounded like a cross between Oprah’s Super Soul Sessions and Gwyneth Paltrow’s In Goop Health festival.)
Along with Faith and Greer, Wolitzer also pays exquisite attention to the lives of Greer’s boyfriend Cody, her best friend Zee, and Emmett Shrader, the billionaire pumping money into Loci. But the heart of the book is the complicated relationship between Greer and Faith, which is inevitably somewhat one-sided given how famous and beloved Faith is. Looking at a box of gifts given to her over the years by fans, Emmett ponders: “All of these women had needed a connection with Faith. She was plasma to them. Maybe it was a mommy thing, he thought, but maybe it was also: I want to be you. There were so many of these women, just so many. But there was only one Faith.”
In the final chapter of The Female Persuasion, a character refers to “the big terribleness,” a time when “indignity after indignity had taken place, constant hammerstrikes against everything they cared about.” What a tonic it is to read a novel about two strong female characters, with all their flaws and faults, both working toward a world where women “could feel capable and safe and free.”
Making Up is the third book in Lucy Parker’s London Celebrities series, which is set in the world of West End theatre. The heroine of this novel, Trix, also appeared in book #2, Pretty Face, which starred her best friend Lily.
Trix is performing in a musical which also features quite a bit of stunt work and acrobatics (I imagined something akin to “Pippin”) when the female star of the show falls and is injured. As one of her understudies, Trix is asked to step in, at least temporarily. However, a bad relationship with a manipulative man who undermined her confidence has left Trix shaken, and she’s not sure she can adequately perform the more difficult role.
Then there’s the show’s new make-up artist, Leo—a former school classmate of Trix’s, and her one-time crush. Not only is he working with her, but he’s also moved into the house she shares with a few other theater people. Leo and Trix immediately clash, but not surprisingly, there’s some sexual tension as well. I knew that Leo was a good guy as soon as it was revealed that HE HAS A PET HEDGEHOG NAMED REGGIE. At that point I would have proposed to him on the spot.
I really appreciated the fact that the main driver of the story is not “will Leo and Trix ever stop fighting and fall in love?” but “will Trix get her self-confidence back?” I think a lot of Parker’s young female readers will learn some important lessons about not letting a romantic partner damage your self-worth and isolate you from your friends; Leo is very supportive of Trix, but it’s clear that this is her journey, and even a cute boyfriend with a pet hedgehog can’t fix all of her problems.
There’s actually more conflict in the book between Trix and Leo’s sister, Cat, who has just returned from a year in New York and is behaving like a brat. (Full disclosure: Leo was actually hedgehog-sitting Reggie for her while she was in the States, but obviously Cat can’t be reunited with her hedgie until she has worked on her own emotional issues.)
With Making Up, Parker has proven that she’s not just writing to a formula in her books, but creating fully-realized and relatable heroines.