These images. These women. They are not Victorian objects. Possessions. There is no voyeurism here. We are with them and they are with us. They speak to us. Live on in these images.
Minnie is in desperate straits, alone in the world but for her twin sister, afflicted with a heart condition and a violent husband. Employed as a domestic servant, she’s asked to provide companionship to Edith by her twin Edmund, the sole survivors of the brain fever that had afflicted the family. Already discomfited by Culpepper House’s position overlooking Highgate cemetery, Minnie is horrified when she sees Edith photographing a young woman together with a swan, both apparently dead. Many years later, Elke buys four Victorian memorial portraits in a house clearance in Australia’s Blue Mountains. She and Hadley adore these pictures, works of art whose history neither knows. When Elke dies, just a year after Hadley’s mother, the photographs become Hadley’s but one is missing, stolen in the aftermath of her mother’s death and about to be the centre of an installation by Hadley’s exploitative ex-boyfriend. When Hadley defaces his website, she finds herself first invited to take part in festival devoted to women’s art, then asked to dinner by Kit Culpepper, a philanthropist who makes clear his interest in the portraits. As Hadley’s career takes off, she becomes the target of threats and unable, it seems, to escape Kit’s attention.
Because I was hers and she was mine. Because of the threads that tied us to each other. Those threads that remain even when her corporeal presence does not.
There’s more of Hadley’s narrative than Minnie’s which tells us the story of Edith’s beautifully staged portraits before Hadley catches up with it. Hadley is anchored in the art world, her mother a renowned artist, while Elke was a photographer entranced by Edith’s exquisite images and a firm believer in Hadley’s talent. The pace quickens when Hadley takes up the offer of installation space at Tate Modern, speeding up as threatening texts are sent, Kit ups the ante in his efforts to purchase the portraits and Hadley becomes more determined to find out the truth behind them. The reveal is not only satisfying but one which I’d not come close to guessing. A much more commercial novel than usual for me and there were a few jarring notes largely thanks to that, but I found it compulsive, enjoying its art world backdrop, and the subject is a fascinating one. Happy to read more by Rushby although probably not her debut, Slashed Beauties, which sounds a step too far for me with the blurb’s mention of a ‘magical’ plot.
Verve Books: Harpenden 9780857309280 416 pages Hardback (NetGalley)
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Not a typical read for me either but I am tempted to give it a try!
I hope you enjoy it if you do. I felt the occasional bit of clunkiness was worth for the plot and the art strand.
This wouldn’t be the type of thing I usually read either, but the art aspect makes it more appealing.
That’s what made it a good read for me, Cathy.
Sounds interesting; a little more plot driven than my usual. I’m always open, however, to novels set in the art world, or with artists as characters.
Mine, too, but that art aspect drew me in, and the reveal is a corker!
Tempted by the art element but… the books on the historical (and ‘commercial’) side aren’t usually for me. Perhaps one I’ll look out for on my library’s audio list.
That sounds like a good plan.
The last two books I’ve tackled with an art history vibe have been rewarding reads, so I’m tempted to continue my winning streak!
Ooh, which ones were they? Definitely a more commercial novel than my usual but I enjoyed its pace and the memorial portrait strand was fascinating.
When I saw the name and setting of this book I wondered if A Rushby had anything to do with Australian children’s writer Allison Rusby. According to her website they are one and the same. She also writes under A, J. Rusby for young adults. Versatile writer!
Absolutely! This is the first time I’ve come across her. It’s such an interesting subject.