Category Archives: Millar Margaret

Beast in View: Margaret Millar (1955)

“In the mirror above the telephone stand she saw her mouth repeating the lie, enjoying it, and she saw her head nod in quick affirmation–this lie is true, yes, this is a very true lie.”

Thirty-year old Helen Clarvoe has a lot to be grateful for, and yet she lives a miserable, solitary existence at a bleak, second-rate hotel. After the death of her father, she left the family home and has very little to do with her flighty mother and dilettante brother. Beast is View is an exploration of loneliness, madness and manipulation, a claustrophobic novel with few characters and very little down time.

Beast in view

The novel wastes no time on preliminaries, and we are dropped right into the action when Helen Clarvoe picks up the phone, and begins a conversation with someone who purports to be an old friend. As the conversation becomes increasingly disturbing, Helen demands to know who is calling her: the caller identifies herself as Ellen Merrick, and that they met at school.

Peculiar things begin to happen to Helen. She hardly goes out as it is, but the phone call and the subsequent events rattle Helen so much, she turns to her late father’s financial advisor, 50-year-old Paul Blackshear for help.

What a graceless woman she was, Blackshear thought, hoarding herself like a miser, spending only what she had to, to keep alive. 

Blackshear, a widower, is already semi retired, and when Helen tells him about the threatening phone call, and that she’s beginning to wonder if someone has access to her apartment, initially he doesn’t want to get involved. Then he changes his mind. Armed with scant information, Paul begins to track down the mysterious Evelyn Merrick. Soon he finds himself on the track of a woman who leaves a trail of damage through poisonous innuendo, and this trail leads him right back to the Clarvoe family. ….

Blackshear discovers that Evelyn Merrick has an almost hypnotic power over her victims. There’s one scene that takes place at the Lydia Hudson School of Charm and Modelling.

The outer office was a stylized mixture of glass brick and wrought iron and self-conscious young women in various stages of charm. Two of them were apparently graduates: they carried their professional equipment in hat-boxes, and they wore identical expressions, half disillusioned, half-alert, like travelers who had been waiting too long for their train and were eying the tracks for a relief car.  

This scene is representative of  the novel’s premise of truth vs. illusion. The charm school students feed the business–the graduates don’t feed the modelling industry. Millar creates a schism, a mirror fractured in two in the very first scene, and this sensation continues through Blackshear’s quest. Most of the (unpleasant) characters appear to have some sort of duality–whether they’re two-faced or living some sort of lie. Millar feeds this unsettling thread throughout the plot’s twists and turns.

Beast in View is an unnerving, classic woman-in-peril novel with an emphasis on terror through psychological suspense–something along the lines of Midnight Lace (although the plots are dissimilar). After reading this, it’s easy to see why it was picked up for an episode of the Alfred Hitchcock Hour, for in this novel, terror exists (mostly) in the mind. This book should appeal to fans of Ruth Rendell.

Margaret Millar was the wife of Kenneth Millar AKA Ross Macdonald

review copy

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Filed under Fiction, Millar Margaret

Troubled Daughters, Twisted Wives: Stories from the Trailblazers of Domestic Fiction ed. by Sarah Weinman

With the title Troubled Daughters, Twisted Wives: Stories from the Trailblazers of Domestic Fiction, how could I pass up reading this collection of 14 stories? And here’s the line-up:

  • Patricia Highsmith: The Heroine
  • Nedra Tyre: A Nice Place to Stay
  • Shirley Jackson: Louisa, Please Come Home
  • Barbara Callahan: Lavender Lady
  • Vera Caspary: Sugar and Spice
  • Helen Neilsen: Don’t Sit Under the Apple Tree
  • Dorothy Hughes: Everybody Needs a Mink
  • Joyce Harrington: The Purple Shroud
  • Elizabeth Sanxay Holding: The Stranger in the Car
  • Charlotte Armstrong: The Splintered Monday
  • Dorothy Salisbury Davis: Lost Generation
  • Margaret Millar: The People Across the Canyon
  • Miriam Allen Deford: Mortmain
  • Celia Fremlin: A Case of Maximum Need

Some of the names were familiar thanks to previous reading: Shirley Jackson, Patricia Highsmith (Strangers on a Train, A Suspension of Mercy , The Cry of the Owl as well as a couple of short story collections) Vera Caspary (Bedelia, Laura, The Secrets of Grown-ups) and Dorothy Hughes (The Expendable Man, Ride the Pink Horse. I’d also heard of, and been meaning to read Celia Fremlin, Charlotte Armstrong, Elizabeth Sanxay Holding, Helen Neilsen, Margaret Millar (who seems to have faded from view while her husband Ross Macdonald remains widely read). Unknowns were: Miriam Allen Deford, Nedra Tyre, Barbara Callahan, Joyce Harrington, and Dorothy Salisbury Davis. After reading the line-up, I knew I’d come away pleased to meet some old friends and delighted to find new names to explore. My expectations were fulfilled–although oddly enough, I was disappointed in the Highsmith story which was rather predictable, and the Dorothy Hughes story which fell flat.

Troubled DaughtersBut onward…

The gem of the collection here, and why am I not surprised, belongs to the Divine Vera Caspary. Yes, Sugar and Spice is a wonderful tale–either a long short story or a novella–it’s hard to tell on the kindle. This is a story within a story which opens with a California woman named Lissa who has a visitor one Sunday afternoon named Mike Jordan. He asks to put through a long-distance call to New York, and when he returns from making the call he asks Lissa if she would like to know who murdered the famous actor, box-office heartthrob, Gilbert Jones. This is an  unsolved murder, so naturally Lissa wants to know the answer, and Mike tells his tale which goes back several decades. In his youth, Mike made the acquaintance of two cousins–the very beautiful but very poor Phyllis, and the very plump, unattractive but very rich Nancy. These two girls grew up in bitter rivalry, and just how this rivalry plays out creates a tale of jealousy and revenge with Nancy and Phyllis fighting over the same man on more than one occasion. Phyllis, elegant, cool and slim looks beautiful no matter how poorly she’s dressed, and little fat Nancy wears the most expensive designer creations and always manages to look like a stale, overstuffed cupcake. This story would have made a great film, but that’s not too surprising given how many story treatments, screenplays and various adaptations Vera Caspary penned for the big screen.

Another favourite for this reader is “Louisa, Please Come Home.” This is the story of a young woman who flees her affluent home on the eve of her sister’s wedding. Is she motivated by fear, a desire for independence or is this simply an attempt to upstage her sister? I kept waiting for the motivation to be revealed, but author Shirley Jackson doesn’t take the stereotypical approach here, and instead the ending, which leaves more questions than answers, is deeply unsettling. Here’s Louisa, at a distance, keeping an eye on her disappearance through the newspaper stories:

I followed everything in the papers. Mrs. Peacock and I used to read them at the breakfast table over our second cup of coffee before I went off to work.

“What do you think about this girl who disappeared over in Rockville?” Mrs. Peacock would say to me, and I’d shake my head sorrowfully and say that a girl must be really crazy to leave a handsome, luxurious home like that, or that I had kind of a notion that maybe she didn’t leave at all–maybe the family had her locked up somewhere because she was a homicidal maniac. Mrs. Peacock always loved anything about homicidal maniacs.

Sarah Weinman’s introduction addresses the history of Domestic fiction, some of the best known names in the field, and the contribution to crime fiction by female authors. The stories in this collection address the rot within the domestic environment and also examines assaults against domestic security, so one story includes the Nanny from Hell while another story includes a nurse who simply can’t wait for her patient to die. We see women as victims, women as perps, women fighting over men, and while there are a number of deranged and damaged females in these pages, underneath the collection lies the unasked question: what happened to these women? Have they been damaged/driven to the point of insanity due to the constrictive roles handed to them by society? It’s an unsettling thought. In Elizabeth Sanxay Holding’s excellent story, Stranger in the  Car, family patriarch, the very wealthy Carrol Charleroy, a man who imagines that he is ‘in charge’ of his household, discovers the hard way that he’s ‘managed’ by the women in his life, and he’s about to learn that he really knows nothing at all about these women–women he’s known for years. And finally, I have to mention Celia Fremlin’s wickedly nasty story A Case of Maximum Need, the story of an old lady who gets a phone installed in her apartment by a do-gooder who has no idea what she is dealing with. I particularly liked this story as I knew a woman in her 80s who masqueraded as a 29 year-old-woman in many internet courtship relationships with young males. I wonder what Celia Fremlin would make of that? Anyway, there’s a good range here, and this volume is especially recommended for those, like me, who’d like to discover some ‘new’ writers. It’s nice to see some of these names resurrected from obscurity.

Review copy

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Filed under Caspary Vera, Fiction, Fremlin Celia, Highsmith Patricia, Hughes Dorothy B., Jackson Shirley, Millar Margaret, Neilsen Helen, Sanxay Holding Elizabeth