With chapters headed by names and starting with two time-frames (Now, After), the moment you open The Shadows We Cast by Sarah Tinsley, it’s clear we’re in psychological thriller territory. The first chapter, from Nina’s point of view, crackles with alarm, while the second, from Eric’s viewpoint, is no less gripping.
Tinsley layers in sharp, pithy descriptions that match the tone: “His pulse is a train-click”, “The stretched darkness of winter has always grated on him.” We’re fed settings and circumstances line by atmospheric line, so we’re fumbling with the characters to understand what’s happened and who is in the wrong.
There’s humour too, as Nina navigates the perils of getting a coffee at work while avoiding chat, speeding past “the HR lot, wallowing around the kitchen like it’s a watering hole” and passing Brian in Sales, who, thankfully “seems safely amused by something on his phone, either that or he’s checking up his nostrils.”
Later, a group of ‘office drones are described through Eric’s eyes as having “gel swooping their hair, like a wind has caught each one in a different direction.”
A deliciously discomforting read that will creep under your skin.
Set against a vividly realised setting of a small Northern town in the shadow of a defunct lighthouse, author Ali Thurm paints a journey into obsession and manipulation with steadily building menace. The title is drawn from Jane Austen’s Mansfield Park, and Helen, Thurm’s narrator, regards Fanny Price as her role model. They are both quiet and easily overlooked. Helen hopes to share in Fanny’s happy ending, and is prepared to do whatever she can to achieve that.
Helen has been living with and caring for her ailing mother for twenty years, and has become a little set in her ways. When her mum passes away, it feels like the start of something, but at first it isn’t clear what. A friend of her mum’s suggests a trip abroad, “now that you’ve got some money”, but Helen isn’t ready for the unknown. “Why would I give up the comforts of home to wait around in airports and be ruled by timetables? (…) I don’t want anything to change. This is where I want to be.”
It takes the return of two old school friends to help her realise that this is only partly true. Through the fog of grief and coping strategies, Helen’s former bestie Vicky emerges, with her husband Sam, who Helen adored at school, coming home for reasons unspecified until the novel’s end.
Today’s guest post comes from bestselling author Sophie Hannah, and explains how authors can use fiction to explore the truth behind controversial subjects, as she did for her novel A Room Swept White.
In the UK there have been several high-profile cases of mothers losing more than one child to cot death and subsequently being accused of murder: Sally Clark, Angela Cannings and Trupti Patel to name just three.
Clark lost two sons to SIDS (Sudden Infant Death Syndrome), and Cannings and Patel each lost three babies. The women protested their innocence, but the dominant view at the time in legal and medical circles seemed to be that it was simply too much of a coincidence for more than one infant from the same family to die an unexplained death; many people believed these babies had been murdered.
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One expert witness who testified against both Clark and Cannings, paediatrician Professor Sir Roy Meadow, said that within a single family, ‘One cot death is a tragedy, two is suspicious, three is murder’. This came to be known as ‘Meadow’s Law’.
Clark and Cannings were both convicted of the murders of their babies. Immediately, campaigns were launched to secure their exoneration and release, on the basis that there was no concrete evidence to prove that either woman was a murderer. The only evidence of murder, supporters argued, was disputed medical evidence. Continue reading
In her psychological thriller A Room Swept White, Sophie Hannah examines the contentious subject of guilt and innocence surrounding cot death cases.
A serial killer is targeting women accused of murdering babies. The first victim is Helen Yardley, a woman convicted then acquitted of killing two of her own children, who then went on to campaign for the release of other women in the same circumstances. A mysterious card is found on her body, marked with seemingly meaningless numbers laid out in neat orderly row.
The story is told through the viewpoints of the police involved and a woman named Fliss Benson who has been given the job of making a documentary of the acquitted women, and who has received an card identical to the one left with Helen Yardley. Continue reading