Monday, July 24, 2017
Kate Cypher, divorced, a 41-year-old school nurse, has flown from her job in Seattle to her mother's home in Vermont. Mom has Alzheimer's, and is steadily getting worse; Kate has to arrange a new living situation for her. But the day she arrives in town, a teenaged girl is murdered....in an identical fashion to how a friend of Kate's was murdered 30 years before. Undoubtedly there's a connection...but what?
What makes this different is there's a definite supernatural element. Del Griswold (derisively called "the Potato Girl" due to a constant smell that hung about her) was from a white-trash family, definitely troubled, held back in school, and her murder seems sadly a release from a horrible life with no prospects. But she was desperate for a friend, and young Kate Cypher was willing to play along. Kate, however, was also keenly aware that Del was extremely unpopular, and hanging out with her was social death, so she tried to shrug it off as "we waited at the bus stop, I barely knew her" kind of thing. But when an adult Kate returns, Del shows up in the edges of Kate's vision, and while you might at first think that it's symptomatic of Kate's guilt over her betrayal of Del's trust as a child and her lifelong denial of knowing anything about her after her murder, it turns out that Del really IS coming back, and soon possesses Kate's mother to communicate. It's clear that the ghostly visitations are indeed real.
What did I like? The atmosphere (Kate's mom lived in a failed utopian commune/settlement), the way the supernatural is handled, and how McMahon presents Del as having become a figure of local folklore, somewhere in between Bloody Mary and the Blair Witch. And the ins and outs of Kate's friendship with Del, and her attempts to play the situation to her advantage with the other kids at school, ring true. Childhood can be horribly cruel.
What didn't I like? The solution to the murders is a bit hasty and unsatisfactory. Some plot elements are never explored, like how one of Del's tormentors died, supposedly choking to death on a slice of raw potato; it's mentioned in passing but never developed further. Kate angered me as she persists in hiding things and keeping secrets when she doesn't need to, and there's no sense at the end that's she's learned anything from her experience.
Still, it wasn't overly long; I hate overly padded books. I started it on a Sunday afternoon and finished by bedtime. It moved along briskly and was never drawn-out or dull, and that's pretty damn remarkable.
It was McMahon's first book, and there's a bunch more out there, so I may start looking into them. It's supernatural without real horror; the ghosts are the remains of tragic happenings and circumstances, and the mystery plot is what takes center stage. (There's almost a strain of magical realism here....) So I'm willing to forgive some imperfections for a first novel, especially such a well-paced and atmospheric one. Not bad in the least and worth an afternoon in your reading nook.
Saturday, July 22, 2017
While we're happy to be together, the heat robs us of our appetites, and after a light nibble we head up the street (staying in the shade as much as possible) until we get to our favorite old theater...thankfully with new air conditioning.
This afternoon's show is the 1936 mystery/horror House of Secrets!
Chesterfield Studios was facing dire financial problems in 1936, so they remade an earlier hit with stronger technical work and a better cast (in some cases, cast against type). It didn't stop Chesterfield's collapse, but at least it endures as their shining hour.
After the show, we slowly walk up the street to our usual cafe for a cold drink...and to maybe linger a while. There's rain in the forecast and maybe it will cool things down a little...
Saturday, July 15, 2017
Asylum's timeframe seems to be in the 50s or early 60s, and takes the form of an extended narrative by psychiatrist Peter Cleave, who is reflecting on his patient, Stella Raphael. Stella is the wife of Max Raphael, a doctor at the high security asylum where Cleave works, and they have a son, Charlie. Stella appears to be the happy housewife on the surface, but it soon becomes clear that her marriage is not the happiest, and is devoid of excitement and passion. She becomes infatuated with Edgar Stark, an inmate, a sculptor who murdered his wife and mutilated her body, in the delusional belief that she was unfaithful to him. He even believes he has a son who does not exist. Edgar, who is part of a work detail and is restoring a Victorian conservatory that's part of the Raphael home (which is on asylum grounds). Stella and Edgar begin a passionate sexual affair...but where is it going? How deep do their feelings run? To what degree are they using each other? And how much does Peter Cleave know, as he seems to be keeping an eye on them?
It's an examination of passion and obsession, madness and self-destruction. As is obvious from page one, Stella inevitably ends up in the asylum herself as a patient, after a horrifying crime....and it's ambiguous to what degree it was deliberate and to what degree it was a product of her profound depression and instability at the time. Nobody's really heroic; Stella is self-absorbed, a user, and a borderline alcoholic, Max is a stick-in-the-mud, Edgar is passionate but deranged and dangerous, and Peter is a creep whose lack of professionalism permits things to roll out of control.
McGrath also uses setting and weather to his advantage; there's tons of great descriptions that also lend atmosphere and meaning to the action of the story and the moods of the characters. I love authors whose books have a great sense of place; there's no use having your book take place in Hong Kong or Botswana when for all the description you give and all the use you make of the location, it may as well be in Indiana.
There is some predictability to the story, but that is more or less built in to the narrative. It's hardly a feminist work, either, as Stella only defines herself through relationships. (Unless that's part of the point? That such attitudes are ultimately destructive? Something to ponder....)
It was made into a film in 2005 with Natasha Richardson, Ian McKellan, and Martin Csokas, and I'll have to track it down sometime. The book itself is currently out of print but likely easy to find used, or at the library. (I got an ebook from the library; great system for that.)
Tuesday, July 4, 2017
The orchestra plays something lively to match the pyrotechnics, and it's actually fairly appropriate...
It may be a Russian composer's interpretation of Spanish music, but it's a lively piece and a good match for exploding rockets, eh?
We wait a while after people leave....no need to get caught up in all that traffic, and we have enough time to linger. It's a pleasant night, and we're starting to maybe feel a little optimistic about the future...maybe?