Two widows, separated by half a century, connected by a beautiful Jacobean manor house - and treachery close to home: this is the intriguing premise of Her Frozen Heart, the latest dose of cosy escapism from Lulu Taylor. But this dual-time tale has a dark undercurrent - and not all is as it first appears...
Following the sudden, tragic death of her charismatic husband Patrick, Caitlyn retreats to Oxford with their son, Max, to grieve and attempt to rebuild her life. But as she begins to uncover shocking details about her husband's secret life, she begins to realise that he was not the person she thought he was. And neither is her best friend, Sara...
Five decades before, war widow Tommy faces a harsh winter in the dispiriting, bleak aftermath of conflict. With her own terrible secrets held close, she must soldier on and keep the crumbling family pile ticking over, providing as best she can for her own sprawling clan and her collection of post-war waifs and strays. In the face of such deprivation and hardship comes a glimmer of hope, of happiness - but also a threat, a cuckoo in the nest.
Can both women keep those they love safe - and save themselves?
Lulu Taylor has crafted two tales which weave and wend around each other, the parallels clear - sometimes unsubtly so. The realities of the two women are very different; Tommy, bound by the mores of a society and class slow to change, and Caitlyn, thoroughly modern and surrounded by the technology and ephemera of the twenty-first century. However, both women are frustratingly in the thrall of the men in their lives; in Tommy's era, understandable and expected. In Caitlyn's case, however, the reader is regularly infuriated by her distinctly un-modern approach. The deeply unpleasant Patrick reaches his tentacles from beyond the grave to toy with Caitlyn cruelly, and she perceives this as an act of love; there is an unpalatable (Christian) grey area around his treatment of her, which is portrayed as at once controlling and loving. Indeed, Patrick's fondness for humiliating and manipulating women - not only his wife - is considered unconventional yet masterful, something to be admired. All of which leaves something of a nasty taste, as does the denouement of this modern day strand - one cannot help but feel sorry for the deeply flawed Sara who, while not without blame, is another unwitting victim of Patrick's machinations.
Meanwhile, back in 1947, the 'viper in the bosom' is - surprise - another woman, also bent on self-aggrandisement (or preservation in a harsh world, depending on your perception). Barbara is, undoubtedly, a thoroughly unpleasant and manipulative individual, with a hazy past and shades of bigamy and worse. Sniffish comments about past affairs and the whiff of prostitution are bandied about, and much is made of her morality (or lack thereof). In a 1940s setting this is entirely believable; however, when placed alongside the apparent acceptance of - and indeed, sympathy for - a homosexual character, the moralising doesn't ring true. Society looked down its nose at 'immoral' women - but the vitriol reserved for gay men in that environment was above and beyond.
There isn't much to like, cast-wise, here - the vast majority of characters are flimsy, unlikeable and just plain infuriating. With the exception of 1947's Tommy and Gerry (yes, really), I couldn't wait to get away from them. All are the stuff of stereotype, even the ones who are vaguely decent. Caitlyn, particularly, is hard to feel sympathy for, even taking account her recent loss and her subsequent trials. And all the 1940s men are a Goodnight Sweetheart cliche, handsomely smoking through their stiff upper lips - under lamplight, naturally.
Taylor succeeds far more in her evocation of battered post-war Britain, with its continuing privations and power shortages. The cruel winter of 1947, which almost finished the job the war had started in bringing the country to its knees, is bitterly evoked; the ghostly breaths and snow-covered landscapes are vividly drawn. The 'antique' strand works better as a whole than its modern day counterpart, drawing on rich period detail and Christie-esque country house atmospherics. The rendering of London in the aftermath of war is also a treat, albeit one which only extends to the lives of the upper classes, for whom drinks parties and cocktails carried on regardless. It is also easier to feel empathy for Tommy's terrible past, shackled by a society for which respectability and propriety must be maintained, whatever the awful cost. The reader cannot help but to root for her when, even as the world outside freezes, her heart begins to thaw.
Her Frozen Heart is a mixed bag. Diverting yet often infuriating, it effectively whiles away a couple of afternoons, and makes perfect escapist reading for this time of year. On the whole, however, it's as ephemeral as those frosty plumes of winter breath, insubstantial and gauzy. And with characters you'll be pleased are so easily forgettable.
My thanks to the publisher and NetGalley for the ARC in exchange for an honest review.