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Lucas Malet is the pseudonym of Mary St. Leger Kingsley (4 June 1852 – 27 October 1931), Victorian novelist.
She was the daughter of Charles Kingsley, author of The Water Babies. In 1876 she married William Harrison, Minor Canon of Westminster, and Priest-in-Ordinary to the Queen.
I went in to this knowing that it was at least partially a ghost story, and that I absolutely loathe ghost stories. It’s good for me to try one every so often just to make sure that it’s still true. Oh my God, as soon as the ghost plot, um, appeared – did you see what I did there? – I almost lost my breakfast. That happened a fifth of the way in, and I am out of here!
Romanzo con ghost story. Un protagonista che si ritrova convocato al capezzale dello zio malato, nella grande magione inglese che avrà in eredità. Ben presto scopre che la casa ospita segreti del passato, tra cui lo spirito di una giovane donna. Una lettura densa e dalle atmosfere cupe e rarefatte, che unisce una vicenda misteriosa a pensieri esistenziali tra filosofia, esoterismo, religione e scienza. Non il solito romanzo gotico con casa infestata, ma un’opera più matura e sofisticata.
Laurence Rivers is an Englishman abroad. His marriage to Virginia, an American socialite, is a seemingly happy one on the other side of the pond. However, Laurence is not quite the social butterfly that his wife is, so when his uncle summons him to England he is only too happy to return alone.
Laurence arrives at his wealthy, but ailing, uncle’s pile and is informed that he is to inherit the estate. However, there is one caveat: no women are to be allowed on the estate at all. Upon this point Uncle Rivers is most insistent—and that includes Virginia! Laurence agrees, sticks around as per his uncle’s wishes, and familiarises himself with the house while waiting for his uncle to pass. As he potters about the house, Laurence finds a hidden room behind a tapestry. This yellow drawing room is beautifully appointed, but no one appears to use it anymore. There is something about the room and he takes to visiting it frequently, and whilst there one early evening a young woman unexpectedly appears from nowhere. The young man is quickly smitten with this beautiful young lady, Agnes Rivers. But Agnes, it seems, is not all Laurence believes her to be.
Malet’s novel is incredibly dense and well crafted, while still remaining readable. However, to call this a ghost story in the same way that Dickens’ ‘A Christmas Carol’ is a ghost story, is not entirely accurate. Yes, like Dickens, Malet’s novel is of its time, has a wider meaning and is skilfully written. But the two do not feel the same. Malet’s novel feels almost like a disquisition on science, religion and philosophy, rather than a genre novel. Of course, there are references to gender, industrial revolution and even war, but these aren’t the main themes, to me. The author discusses science, religion and philosophy — and overlaps them all at certain times. However, it is the central theme of death which is the main focus within the book, especially the final chapter.
But, are there ghosts in it, you ask? Well, yes. But this isn’t a ghost story. Is it more akin to Ibsen’s ‘Ghosts’, than the white-sheeted Spooky ones of childhood imagination. However, while the book was less ‘entertaining’ than some other Victorian ghost or horror tales, it is certainly more thought-provoking than you might expect.
Non amo le storie di fantasmi. Ma questa riflette in modo così diretto e appassionato quell'anelito tardo-vittoriano a superare i confini della morte e dell'aldilà che ha finito con il conquistarmi. E poi Lucas Malet (pseudonimo di Mary St Leger Kingsley) scriveva divinamente.
I definitely enjoyed this far more than I was expecting to, and I do think it's a shame that I likely never would have come across it of not for its appearance on my university module reading list.