“I’m thinking of murdering him in front of a large crowd of strangers. I have to do it myself,” Verity explained, “because hit men don’t take plastic.”
Authors Michael McDowell (1950-1999) known primarily for horror fiction and Dennis Schuetz, published the campy, over-the-top The Wicked Stepmother in 1983, and thanks to Valancourt books, this title is back in print. It’s full of spiteful, grasping people behaving badly, and I don’t know if it was the author’s intention for readers to find this entertaining book funny in a nasty sort of way, but that’s exactly what it is.
The book opens with spoiled trust fund brat Verity Hawke Larner, the eldest of the three Hawke children still asleep in bed at noon when she’s woken by Louise Larner, her mother-in-law calling from Boston. Verity is married, but separated from Louise’s ne’er-do-well son, the good looking, sleazy low-life drug dealer Eric, but to complicate matters, Louise is also a partner of the real estate company owned by Verity’s father, Richard Hawke, which “handled some of the most exclusive properties in Boston.”
This first chapter sets the tone for the rest of the book. As Verity struggles from sleep, she tries to remember the name of the man in bed next to her (“It starts with a B,”) and claims she quit her most recent job due to “burnout,” which is a euphemism for too many nights partying on cocaine. Louise insists that Verity drive from Kansas City where she settled two years earlier (as that’s “where the car broke down,”) and return to Boston for a family party.
Verity doesn’t make the party but shows up a few days later at the family mansion in Boston to discover that her father is dead. He collapsed in Atlantic City “slumped across a Blackjack table” just a few days after marrying Louise, and as Louise sniffingly explains to her new step-children, “We only had four days together–but they were perfect days.”
So that leaves Louise as the “wicked stepmother” of the title inheriting, what she imagines, is all of Richard’s estate. At the reading of the will, Louise is stunned by the revelation that although she inherits a decent amount, she doesn’t get everything, and that includes the Hawke mansion, and the eight million dollar trust fund to be divided between Verity and her siblings Jonathan and Cassandra. Louise, who is driven by avarice, then reasons that her stepchildren must die… one by one…
The private lives of the Hawke siblings are explored as part of the plot, so we see promiscuous Verity downing screwdrivers for breakfast and snorting cocaine every chance she gets while Jonathan follows his punk rock band girlfriend, and Cassandra moves on from being a magazine editor. The lives of these three siblings who never have to worry about a paycheck or having a place to live are in direct contrast to Louise and her son who are both rotten, but also dangerously rapacious, to the core. There are a couple of scenes which are shocking in their complete heartlessness when these two loot the belongings of the dead.
Wicked Stepmother smacks of the 70s with its references to a Lime green Toronado and a yellow Cadillac, and the plot has the feel of a fictionalized tacky ‘true crime’ novel, with the bones of the novel being the lurid crimes fleshed out by the authors’ imagination. Some of the scenes and the dialogue are completely over-the-top, but in spite of the lack of subtlety in characterizations which feeds the novel’s theatricality, the violence, when it occurs is unexpected, shocking and chilling. Living under the protection of money, high society and the looming trust fund fails to prepare the Hawke siblings from the determined greed of Louise whose desire for the Hawke mansion has no moral bounds.
If this were made into a film, I’d place it in the very capable hands of one of my cultural icons, John Waters. He’d be the right person for the job–an assault of the rapacious, murderous self-made on the unprepared, upper classes of Boston.