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The vanishing of Audrey Wilde / Eve Chase.

By: Material type: TextTextPublisher: London, UK Michael Joseph, an imprint of Penguin Random House, 2017Copyright date: ©2017Description: 318 pages ; 24 cmContent type:
  • text
Media type:
  • unmediated
Carrier type:
  • volume
ISBN:
  • 9780718180102
Subject(s): Genre/Form: Summary: Nineteen fifty-nine. The four Wilde sisters, Isla, Violet, Maggie and Dot, are spending the summer in the Cotswolds, at Applecote Manor. Affectionately called the Wildlings, the sisters are exceptionally close, yet this year there's a sense of nostalgia. Things are changing. Except for Applecote itself, a house that seems frozen in time.
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Item type Current library Collection Call number Status Date due Barcode Item holds
Fiction Davis (Central) Library Fiction Collection Fiction Collection CHAS Checked out 18/04/2024 T00627379
Total holds: 0

Enhanced descriptions from Syndetics:

From the present day. . . Applecote Manor captivates Jessie with dreams of hazy summers in the Cotswolds, the perfect place to bring up her children. But the house has an unsettling history and strange rumours surround the estate. . . to the fifties. . . When teenage Margot and her three sisters arrive at Applecote during the heatwave of '59, they find their aunt and uncle still reeling from the disappearance of their daughter, Audrey, five years before. Drawn into the life Audrey left behind and the mystery of her vanishing, the stifling summer takes a shocking, deadly turn. The bonds of sisterhood will be tested and an unthinkable choice will have a decades-long legacy. . . Step back in time for a mystery of breathtaking suspense - perfect for fans of Kate Morton. 'A haunting mystery about the secrets of the past, the bonds within families, and the hidden ties that connect people across time. A story to be savoured, The Vanishing of Audrey Wilde is a book I'll be recommending to everyone I know' - Megan Miranda, author of All the Missing Girls

Nineteen fifty-nine. The four Wilde sisters, Isla, Violet, Maggie and Dot, are spending the summer in the Cotswolds, at Applecote Manor. Affectionately called the Wildlings, the sisters are exceptionally close, yet this year there's a sense of nostalgia. Things are changing. Except for Applecote itself, a house that seems frozen in time.

General.

Excerpt provided by Syndetics

***This excerpt is from an advance uncorrected copy proof*** Copyright © 2017 Eve Chase PROLOGUE Applecote Manor, The Cotswolds, England The last weekend of August, 1959 None of us can bear to touch his belt, so horrifyingly intimate. But as we drag him across the lawn it ploughs into the soil. He's heavier than he looks too, unwieldy. Every few steps we stop and catch our breath, startling at each other's faces in the dawn light, daring each other to look down at the unbelievable fleshy fact of him, the childlike abandon of his outstretched arms. Daisies are stuck to him now, their pink-white petals opening to the sun that is rising at a worrying speed behind the orchard. There's something very wrong about these daisies, stars in the dark sticky of his hair. Dot leans forward as if to pluck them out, sit down and thread them into a chain over the hammock of her gingham skirt. If she did it would not make anything stranger. Another few stumbling steps, Dot's spectacles fall off. She starts to scrabble for them. We tell her to stop. There is no time. The birds are starting to sing, all at once, an explosion of noise, a wild loop of fear. I try to talk myself down from blind panic: we are the same girls we were at the beginning of this long hot summer. Applecote Manor still stands behind us, gazing sleepily over the valley. And in the meadow beyond the garden gate, our beloved circle of prehistoric stones, unchanged, unchanging. We need to get him much closer to those stones, away from the house and fast - the orangery's glass roof is glinting dangerously in the first rays of sun, even closer than we thought. A whoosh of nausea folds me in half. I cough, hands on my knees. Flora slips her arm over my shoulders. Feeling her tremble, I look up, try to reassure her, but can't. Eyes full of fear and light, Flora blinks repeatedly, as if adjusting to something in my face she hasn't seen before.   Pam, jaw clenched, starts tugging at his shirtsleeve. But the fabric is no match for the dead weight of his arm and it rips, the noise horrible, deafening. Dot smothers a sob with her hand.     'It's all right, Dot...' I start to say then stop short, noticing a splatter of blood across her fingers. I lower my gaze to check my own hands. Flora's. Pam's. My stomach rolls again. Our summer dresses are butcher's aprons. We all look like we killed him now, not just one of us. Sisters. Bonded by blood. ONE Over fifty years later   Crime. Crowds. The way a big city forces girls to grow up too fast, strips them of their innocence. It's time for the family to leave London, move somewhere gentler, more benign. They've viewed a number of houses in the last three months - the estate agents' brief, rural, roomy, a fixer-upper - but not one that Jessie felt could be called home. Until this moment: standing in Applecote Manor on a late January afternoon, feeling like she's being filled up with sunlight. It is in a right state, of course. They couldn't hope of affording a house like this otherwise. Evergreens are packed hard against the orangery's windows, threatening to break them, scatter the wooden window seat with poisonous berries like beads. The stone flags on the floor undulate, rising in the centre of the room as if a creature might be pushing up from the earth. But Jessie is already imagining oranges dangling, blood-warm and heavy in the hand, the glass doors flung back to the euphoria of summer, the peal of girls' wild laughter. Her face soft, opening, Jessie tracks the paned glass as it climbs to its geometrical peak, a feat of Victorian engineering that promises tangy Mediterranean fruit in the English climate among the woolly pippins. Something about that optimism - control through enclosure, a sort of forced nurturing - whispers in her ear: isn't she trying to do something similar, only with a family? Jessie glances at Bella, who is slumped on the window seat, pecking out a text on her mobile phone. A twist of too-long legs and inky hair, her sixteen-year-old stepdaughter is the striking spit of her dead mother, the first Mrs Tucker. Sensing Jessie's questioning gaze, she lifts her pale, aquiline face, narrows her eyes to glossy pupil-filled cracks, and answers it with a look of fierce refusal. Jessie's glad Will didn't catch it, that look. Hands stuffed boyishly into his coat pockets, her husband is gazing back into the shadows of the adjoining kitchen with a sweetly furrowed air of recalibration as if struggling to square the rural dream - an urban male fantasy of chopping logs, foraging, probably sex outside - with the eerie sound of birds fluttering in cave-like chimneys, the sense of imprisoned pulpy damp, this terrifying, thrilling isolation. Beneath the shearling of her favourite lambskin jacket, a 1970s-style one that suits these rough-hewn surroundings, Jessie's heart quickens. She tucks her unruly autumn-red hair repeatedly behind her ears, ordering her thoughts. For she knows there's a huge jump between viewing an old country house on a winter afternoon - filmy silver light filtering through skeletal trees, moody and strange, like something dreamed - and the stress of moving hundreds of miles away, shedding their city skins. It would be an act of reckless blind faith, like falling in love with Will had been. But the house simply feels right, as Will did from the start, and, on a level that she can't explain, like it was destined to be theirs. And really, the scale of Applecote is perfect. They wouldn't be lost in it. Huge compared to their London semi, it's still a doll's house compared to the real old piles in the area - the name 'manor' is definitely pushing it. Only two rooms deep, the square footage is in the width, and it's rustic rather than grand with gnarled wood-wormed beams, walls that bulge as if breathing, no straight edges. A pelt of ivy covers the Cotswold stone exterior, the house not immediately visible from the road. Jessie likes this, the unshowiness, the way Applecote doesn't dominate the surrounding lush countryside but settles into it, like an elegant elderly lady dozing in long grass. Jessie can see Bella finally finding some peace here, and her daughter, Romy, freed from rubber-matted city playgrounds, climbing trees, those strawberry blonde curls catkin-fuzzed. Romy already seems perfectly at home, prodding at the kiss of a snail's fleshy sucker on the other side of the glass with chubby toddler fingers. Jessie is sure her little girl will love the freedom of the countryside, just as she did as a kid, all those secret nooks of childhood, tiny worlds invisible to grown-up eyes. When the snail foams forward, Romy giggles and looks up: Jessie sees her own pixie-pretty features miniaturized, her family's Irish teal-blue, copper-lashed eyes, Will's full mouth. Jessie grins back, Romy's delight her own. Their relationship is still porous, umbilical, the opposite of the one with Bella, which seems to be fortressed by a wall just as thick as Applecote's. Occasionally, she can peer over it, if she pulls herself up, dangling precariously. Not often. Certainly not today. It's been over three years since Jessie crossed the city with her five months pregnant belly, the world's happiest accident, bulking under her coat like a hidden present - and moved into Will's house. Two years after Mandy died. Not wanting to intrude upon his life or his daughter's, Jessie had hung on to her independence and Dalston flat-share as long as possible, resisting the man she'd fallen madly in love with - 'I don't want to waste another minute of my life apart from you, I need you, we need you, Jessie' - until it became ridiculous and impractical. They didn't want to unsettle Bella further by moving then, not with a new baby on the way. And Jessie naively believed that a big heart, an eagerness to love Bella as her own, would eventually win over the fawn-like girl with the haunted eyes, who clung to her father's hand as if he were the last human left on earth. She had no idea that trying to love Bella, let alone parent her as she grew into an angry teen, would be like trying to hug an animal that wanted to sink its teeth into her neck. That she might never be forgiven for invading Bella's private world with her father and bringing forth the joy, noise and disruption that was Romy, a rival for her father's affections, and embarrassing proof of his new sex life. And who could blame poor Bella? Time, everyone says. But time seems to be making things worse for Bella in London, not better, like something fragile left outside in the polluted city air, accruing damage. These last few months have been particularly bad, hormonally explosive with an unsettling crescendo that's forced their hand here. Both Jessie and Will are agreed that Bella, whether she wants it or not - not, obviously - needs a fresh start. She must be removed from the skunky parties and the toxic cliques, taken far away from what she did to that girl, everything that happened. There's no point just moving to another London borough. If they're going to do it, they need to be radical, reframe their lives. They will leave the city for somewhere much more innocent and benign. And what could be more innocent than Applecote Manor?  And yet. The windowpane bisecting the family's reflection seems uncannily symbolic, reminding Jessie that there are other, murkier reasons Applecote draws them: Will trying to escape the mental imprint of a lorry turning left, the broken body of his beautiful wife churned along a concrete road; Jessie's insecurities, the ones that flare secretly, pettily in her brain. For how can she tell Will that she's never felt comfortable in his dead wife's smart house, a domestic life that was never hers? That she has to fight terrible childish urges to paint over the chic grey walls with a riot of colour? That this is his second marriage, yes, but it is her first, her only, and she wants it to have its own unique character. And, that, Mandy, magnificent Mandy Tucker, a subject so huge and heartbreaking that Jessie daren't mention her at all, is inescapable in that London house. Only last week Jessie pulled out one of Mandy's silk scarves from behind the radiator in the hallway. Sitting down on the stairs, the grey walls pressing in, the scarlet scarf limp in her hand, secreting another woman's expensive scent, she wondered what to do with it. In the end, at a loss, she dropped it back behind the radiator and felt terrible. But Jessie knew that bits of Mandy would always be in that house, her marriage, hiding in crannies, waiting, watching. They wouldn't be at Applecote Manor. No ghosts here. 'I can tell you've already moved in,' says Will, making her start, guiltily pushing thoughts of Mandy away. She can see her own smile spread in his tawny brown eyes. 'And I can tell you're still on the motorway. Outside London.' A laugh rumbles up from his thick coat. 'I might turn off.' Something inside sinks. He's losing his nerve. 'Might?' 'We can't afford it, Jessie. Not if you figure in all the work that needs doing. Unless you want to live like a squatter.' Even this has a romantic appeal. Jessie imagines them all huddled around a roaring fire for warmth, drinking cocoa from tin mugs, telling each other stories. 'The commute to the London office will be like some sort of daily triathlon.' Will's eyes sparkle, warming to his theme. 'We don't know a soul here. In fact, there isn't a soul here. We may as well move to Mars.' Out of the corner of her eye Jessie sees Bella nodding fervently in agreement. Jessie thinks of the journey out of the city earlier in the day through sleepy suburbs, the anonymous banker satellite towns, chocolate-box villages, the cold skies clearing, bluing, until they passed the point at which a daily commute into London was, Will joked blackly, 'completely unfeasible without a mid-life crisis,' on and on, a series of country roads, smeared with the bloating carcasses of fox and pheasant, then a narrow lane, squeezed between hedgerows, a deserted old house, waiting. In a way she doesn't quite understand, it felt like a route back inside herself. She can't turn back. 'Total madness.' Will's mouth starts to twitch with a smile. ' But ...' He is the only man she's ever met who can seduce only with his eyes. '...it is wild and beautiful, just like you.' Bella groans, 'Oh God'. 'And you've got a slightly mad, determined look going on that's making me think you might just move here anyway, whether I come or not.' He grins at her from beneath his mop of floppy dark hair that he likes to wear a little too long, a little rock and roll, a small rebellion against being forty-five, nine years older than Jessie, and the demands of the growing logistics company he set up fifteen years ago with an old college friend, Jackson. A large, loud bachelor, Jackson was best man at Will's first wedding (huge, white) and absent from his second, (a family-only affair in a registry office, Jessie in a green dress, scarlet lipstick, a baby on her hip). 'So, yes, there's a chance that you might be able to persuade me. A very small chance.' He pulls her toward him, lightly pressing his hand against the curves of her bottom. Jessie wishes they could make love here, right now, mark their territory. She nuzzles against the stubble of his chin. Appalled by any display of physical affection - and attuned to it - Bella looks up abruptly, and guns her father's right hand. Jessie feels the flinch in the contracting muscles of Will's fingertips. She sidesteps away to make it easier for him. The embroidered hem of her skirt swishes back against her knee-length leather boots. 'What do you think, Bella?' she asks, maybe a bit too brightly. Bella burrows her eyes into the phone again. 'I'd sooner hang myself from a door by a belt than move here.' 'Don't hold back. Tell us how you really feel,' says Will, gamely trying to humour her. Bella's face remains blank, violently silent. Romy's large blue eyes look up from the roly-poly scuttling along the floor to her mother, sensing something wrong. Jessie's fingers reach for the gold charm, a tiny gingerbread man, that hangs on the chain around her neck, a necklace Will gave her to mark Romy's birth, her most cherished possession. The skin-warmed metal calms Jessie, as it always does. She's needed to touch it a lot in the last few months as worries about Bella and the fractures in this rapidly patched-together family rumble beneath the surface of her day. 'Bell, Bell.' Romy stomps over to Bella, presents an offering of a roly-poly balled in her cupped hand, and grins, ever hopeful. Bella recoils and shoots one of those chilly looks at Romy that makes Jessie shudder. There's something in Bella's gaze that is just not sisterly sometimes, not even particularly human.  But she'd never say this to Will. 'Shall we hit the road then, baby bear?' Will swings Romy up in his arms, on to his shoulders, where she sits very upright, kicking her feet like a tiny mahout. He tries to talk to Jessie as Romy covers his eyes with her hands. 'I'm starving, sweetheart.' 'One last look?' Something in Jessie sinks at the thought of returning to London. It feels like Applecote might vanish the moment they leave it. 'I'm sure there's a room on the top floor we didn't see earlier. It's probably only a storeroom or something, but I'd like to check it out. The agent rushed us past it, didn't he, Bella?' Bella shrugs. But Jessie remembers how Bella kept curiously glancing back at that top floor as they all clattered downstairs.  'I now have no option at all but to feast on this scrumptious foot then.' Will starts to pretend gobble Romy's boot. Romy squeals. Jessie turns back into the shadowed old heart of the house, quietly amazed to hear Bella's slouching footsteps following behind her. Excerpted from The Wildling Sisters by Eve Chase All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

Reviews provided by Syndetics

Library Journal Review

The past and present collide in Chase's (Black Rabbit Hall) latest. Fifteen-year-old Margot and her three sisters spend the summer of 1959 at Applecote Manor, the sprawling country home belonging to their aunt and uncle. The girls' cousin, Audrey, vanished from Applecote five years before, devastating her parents. Under the watchful eyes of her aunt and uncle, Margot immerses herself in Audrey's life at Applecote and the secrets surrounding her disappearance. What Margot uncovers that summer will haunt her for decades. Now, Applecote is the new home of Jesse, her husband, and their daughters. The couple see the manor as an opportunity to leave behind their busy lives in London and as a fresh start for Jesse's teenage stepdaughter, Bella. As they settle into the house and their new country life, Jesse and Bella each begin to piece together Audrey's story. Verdict Applecote's shabby glamour and dark atmosphere make for an electric setting for this tale of domestic suspense. Recommended for readers of Miranda Beverly-Whittemore, Megan Abbott, and Jeffrey Eugenides's The Virgin Suicides. [See Prepub Alert, 2/13/17; a July LibraryReads pick.]-Emily Hamstra, Seattle © Copyright 2017. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal Review

"Houses are never just houses," says Margot Wilde. In this gripping modern gothic novel that takes place in two different time periods, a house becomes practically a character. In 1959, 15-year-old Margot and her three sisters visit their aunt and uncle's country house, Applecote Manor, for the first time since their cousin Audrey disappeared five years earlier. In the present day, Jessie and her husband, Will, buy Applecote to escape from crowded, crime-ridden London. In Margot's story, told in the first person, Margot is drawn to Audrey's bedroom, which Audrey's mother keeps in pristine condition, waiting for the lost girl's return. Meanwhile, Margot and her sisters' loyalties are divided for the first time when they meet two handsome young neighbors. In Jessie's story, told in the third person, Applecote is meant to be a clean slate for her family, but her husband is constantly being pulled back to London, and her teenage stepdaughter, Bella, is fixated on her dead mother and the 50-year-old mystery of the missing Audrey. The two narratives converge as the house reveals its secrets. VERDICT Fans of Kate Morton will love this eerie, multilayered tale of young love, jealousy, and mystery.-Sarah Flowers, formerly at Santa Clara County Library, CA © Copyright 2017. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Booklist Review

The summer of 1959 is different from past summers the four Wilde sisters have spent at Applecote Manor in the Cotswolds. This is their first visit since Audrey, their 12-year-old cousin, disappeared without a trace five years earlier. Added to that, the older Wilde girls find themselves competing for the attention of two boys from a neighboring estate. As the sisters try to work their way through this new wrinkle in their close relationship, Aunt Sybil seems to find comfort in treating 15-year-old Margot Wilde like her missing child. Many years later, Applecote Manor is purchased by Jessie and Will Tucker. Jessie hopes that by leaving London and moving to the country she can escape from the shadow of Will's deceased first wife. But Will's job keeps him away most of the week, and Bella, Jessie's sullen 16-year-old stepdaughter, seems determined to sabotage the move. Margot's narrative alternates with chapters relating Jessie's growing fears that Applecote Manor might not be the haven she was hoping for. Chase's novel, following Black Rabbit Hall (2016), is a solid addition to the suspense subgenre of old-English-country-house-with-secrets tales.--Quinn, Mary Ellen Copyright 2010 Booklist

Kirkus Book Review

Newlywed Jessie Tucker hopes a move to the countryside will help her find her footing with her teenage stepdaughter, Bella, who seems haunted by memories of her late mother, Mandy.Yet the move to Applecote Manor, far from the bustle of London, instead raises more ghosts. Over 50 years ago, in the mid-1950s, 12-year-old Audrey Wilde simply disappeared from the grounds of Applecote, leaving her parents, Sybil and Perry, devastated and housebound. Five years after Audrey's vanishing, Sybil's glamorous, scandalous, and financially pinched sister-in-law, Bunny, takes a job in Marrakesh, so Sybil takes in her four nieces for the summer, a summer that will drive inexorably toward tragedy. Flora, the beguiling 17-year-old eldest sister, attracts the attentions of both Tom, an easygoing young man headed for a military career, and Harry, his wealthy, rakishly handsome friend. Outraged at the unfairness of her sister's monopoly on male attention, second sister Pam spends the summer vying for Tom's eye. Margot, who's 15, finds herself drawn to Harry, who gazes at her even as he courts Flora. Yet Margot also bears an uncanny resemblance to Audrey, which draws her into Sybil's unsettling fantasies that Audrey will return. Young Dot, only 12, hovers, neglected by her lovesick sisters. Chase (Black Rabbit Hall, 2016) shifts between Margot's and Bella's investigations into Audrey's disappearance, eerily escalating the tension as clues surface across time, including a cache of rain-smeared letters, a heart-shaped button, and broken spectacles. In the 21st-century sections, told in the third person from Jessie's perspective, the atmosphere thickens as a mysterious woman lurks on the edges of Applecote's grounds, and Bella isolates herself in Audrey's old bedroom, now riddled with relics of Mandy. In Margot's first-person sections, the investigation leads to a shocking night of violence. A bewitching gothic tale of sisters and secrets. Copyright Kirkus Reviews, used with permission.

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