Dangerous Thoughts Read online

  Dangerous Thoughts

  CELIA FREMLIN

  To Leslie

  whose loving support contributed much to the writing of this book.

  Contents

  Title Page

  Dedication

  Celia Fremlin: A Biographical Sketch

  Preface: Remembering Celia Fremlin

  CHAPTER I

  CHAPTER II

  CHAPTER III

  CHAPTER IV

  CHAPTER V

  CHAPTER VI

  CHAPTER VII

  CHAPTER VIII

  CHAPTER IX

  CHAPTER X

  CHAPTER XI

  CHAPTER XII

  CHAPTER XIII

  CHAPTER XIV

  CHAPTER XV

  CHAPTER XVI

  CHAPTER XVII

  CHAPTER XVIII

  CHAPTER XIX

  CHAPTER XX

  CHAPTER XXI

  CHAPTER XXII

  CHAPTER XXIII

  CHAPTER XXIV

  CHAPTER XXV

  CHAPTER XXVI

  CHAPTER XXVII

  CHAPTER XXVIII

  Copyright

  Celia Fremlin: A Biographical Sketch

  Celia Fremlin was born in Kingsbury, Middlesex, on 20 June 1914, to Heaver and Margaret Fremlin. Her father was a doctor, and she spent her childhood in Hertfordshire before going on to study at Oxford. Between 1958 and 1994 she published sixteen novels of suspense and three collections of stories, highly acclaimed in their day. Sadly, Fremlin’s work had largely fallen out of print by the time I discovered her for myself in the mid-1990s. But I was captivated by the elegant, razor-sharp quality of her writing and – as often when one finds an author one is passionate about – keen to learn more about the writer’s life. Then, in early 2005, I had the great good fortune of having several conversations with Celia Fremlin’s elder daughter Geraldine Goller. Geraldine was a charming woman and I found our discussions enlightening, helping me to understand Celia Fremlin better and to appreciate why she wrote the kind of books she did.

  One noteworthy thing I gathered from Geraldine was that her mother (highly academic as a young woman, even before she found her vocation in fiction) was invariably to be found immersed in her latest writing project – to the exclusion, at times, of her family. Geraldine also told me that her mother was notorious within the home for embroidering the truth, and was quite often caught out by her family for telling ‘little white lies’. Geraldine, however, read no badness into this trait: she simply put it down to her mother’s creative streak, her ability to fabricate new identities for people – even for herself.

  Who, then, was the real Celia Fremlin? The short biographies in her books tended to state that she was born in Ryarsh, Kent. Geraldine, however, informed me that her mother was raised in Hertfordshire, where – we know for a fact – she was admitted to Berkhamsted School for Girls in 1923; she studied there until 1933. Ryarsh, then, was perhaps one of those minor fabrications on Fremlin’s part. As a fan of hers, was I perturbed by the idea that Fremlin may have practised deceit? Not at all – if anything, it made the author and her works appear even more attractive and labyrinthine. Here was a middle-class woman who seemed to delight in re-inventing herself; and while all writers draw upon their own experiences to some extent, ‘reinvention’ is the key to any artist’s longevity. I can imagine it must have been maddening to live with, but it does suggest Fremlin had a mischievous streak, evident too in her writing. And Fremlin is hardly alone in this habit, even among writers: haven’t we all, at one time or another, ‘embellished’ some part of our lives to make us sound more interesting?

  Even as a girl, Celia Fremlin wrote keenly: a talent perhaps inherited from her mother, Margaret, who had herself enjoyed writing plays. By the age of thirteen Celia was publishing poems in the Chronicle of the Berkhamsted School for Girls, and in 1930 she was awarded the school’s Lady Cooper Prize for ‘Best Original Poem’, her entry entitled, ‘When the World Has Grown Cold’ (which could easily have served for one of her later short stories). In her final year at Berkhamsted she became President of the school’s inaugural Literary and Debating Society.

  She went on to study Classics at Somerville College, Oxford, graduating with a second. Not one to rest on her laurels, she worked concurrently as a charwoman. This youthful experience provided a fascinating lesson for her in studying the class system from different perspectives, and led to her publishing her first non-fiction book, The Seven Chars of Chelsea, in 1940. During the war Fremlin served as an air-raid warden and also became involved in the now celebrated Mass Observation project of popular anthropology, founded in 1937 by Tom Harrisson, Charles Madge and Humphrey Jennings, and committed to the study of the everyday lives of ordinary people. Fremlin collaborated with Tom Harrisson on the book War Factory (1943), recording the experiences and attitudes of women war workers in a factory outside Malmesbury, Wiltshire, which specialised in making radar equipment.

  In 1942, Fremlin married Elia Goller: they would have three children, Nicholas, Geraldine and Sylvia. According to Geraldine, the newlyweds moved to Hampstead, into a ‘tall, old house overlooking the Heath itself’, and this was where Geraldine and her siblings grew up. Fremlin was by now developing her fiction writing, and she submitted a number of short stories to the likes of Women’s Own, Punch and the London Mystery Magazine. However she had to endure a fair number of rejections before, finally, her debut novel was accepted. In a preface to a later Pandora edition of said novel Fremlin wrote:

  The original inspiration for this book was my second baby. She was one of those babies who, perfectly content and happy all day, simply don’t sleep through the night. Soon after midnight she would wake; and again at half past two; and again at four. As the months went by, I found myself quite distracted by lack of sleep; my eyes would fall shut while I peeled the potatoes or ironed shirts. I remember one night sitting on the bottom step of the stairs, my baby awake and lively in my arms it dawned on me: this is a major human experience, why hasn’t someone written about it? It seemed to me that a serious novel should be written with this experience at its centre. Then it occurred to me – why don’t I write one?

  The baby who bore unknowing witness to Fremlin’s epiphany was, of course, Geraldine. It would be some years before Fremlin could actually put pen to paper on this project, but the resulting novel, The Hours Before Dawn (1959), went on to win the Edgar Award for Best Crime Novel from the Mystery Writers of America, and remains Fremlin’s most famous work.

  Thereafter Fremlin wrote at a steady pace, publishing Uncle Paul in 1960 and Seven Lean Years in 1961. Those first three novels have been classed as ‘tales of menace’, even ‘domestic suspense’. Fremlin took the everyday as her subject and yet, by introducing an atmosphere of unease, she made it extraordinary, fraught with danger. She succeeded in chilling and thrilling her readers without spilling so much as a drop of blood. However, there is a persistent threat of harm that pervades Fremlin’s writing and she excels at creating a claustrophobic tension in ‘normal’ households. This scenario was her métier and one she revisited in many novels. Fremlin once commented that her favourite pastimes were gossip, ‘talking shop’ and any kind of argument about anything. We might suppose that it was through these enthusiasms that she gleaned the ideas that grew into her books. Reading them it is clear that the mundane minutiae of domesticity fascinated her. Moreover, The Hours Before Dawn and The Trouble-Makers have a special concern with the societal/peer-group systems that adjudge whether or not a woman is rated a ‘good wife’ and ‘good mother.’

  *

  By 1968 Celia Fremlin had established herself as a published author. But this was to be a year for the Goller family in which tragedy followed hard upon
tragedy. Their youngest daughter Sylvia committed suicide, aged nineteen. A month later Fremlin’s husband Elia killed himself. In the wake of these catastrophes Fremlin relocated to Geneva for a year.

  In 1969 she published a novel entitled Possession. The manuscript had been delivered to Gollancz before the terrible events of 1968, but knowing of those circumstances in approaching Possession today makes for chilling reading, since incidents in the novel appear to mirror Fremlin’s life at that time. It is one of her most absorbing and terrifying productions. Aside from the short-story collection Don’t Go to Sleep in the Dark (1970) Fremlin did not publish again until Appointment With Yesterday (1972), subsequently a popular title amongst her body of work. The novel deals with a woman who has changed her identity: a recurrent theme, and one with which Fremlin may have identified most acutely in the aftermath of her terrible dual bereavements. The Long Shadow (1975) makes use of the knowledge of the Classics she acquired at Oxford; its main character, Imogen, is newly widowed. Again, we might suppose this was Fremlin’s way of processing, through fictions, the trials she had suffered in her own life.

  Fremlin lived on in Hampstead and married her second husband, Leslie Minchin, in 1985. The couple remained together until his death in 1999. She collaborated with Minchin on a book of poetry called Duet in Verse which appeared in 1996. Her last published novel was King of the World (1994). Geraldine believed that her mother’s earlier work was her best, but I feel that this final novel, too, has its merits. Fremlin marvellously describes a woman who has been transformed from a dowdy, put-upon frump to an attractive woman of stature. The reason Fremlin gives for this seems to me revealing: ‘Disaster itself, of course. However much a disaster sweeps away, it also inevitably leaves a slate clean.’

  Though Geraldine did not admit as much to me, she did allude to having had a somewhat mixed relationship with her mother. This, in a way, explained to me the recurrence of the theme of mother–daughter relations explored in many of Fremlin’s novels, from Uncle Paul, Prisoner’s Base and Possession right up to her penultimate novel The Echoing Stones (1993). One wonders whether Fremlin hoped that the fictional exploration of this theme might help her to attain a better understanding of it in life. Thankfully, as they got older and Celia moved to Bristol to be nearer Geraldine, both women managed finally to find some common ground and discovered a mutual respect for each other. Celia Fremlin was, in the end, pre-deceased by all three of her children. She died herself in 2009.

  To revisit the Celia Fremlin oeuvre now is to see authentic snapshots of how people lived at the time of her writing: how they interacted, what values they held. Note how finely Fremlin denotes the relations between child and adult, husband and wife, woman and woman. Every interaction between her characters has a core of truth and should strike a resonant note in any reader. Look carefully for the minute gestures that can have devastating consequences. Watch as the four walls of your comforting home can be turned into walls of a prison. Above all, enjoy feeling unsettled as Fremlin’s words push down on you, making you feel just as claustrophobic as her characters as they confront their fates. Fremlin was a superb writer who has always enjoyed a core of diehard fans and yet, despite her Edgar Award success, was not to achieve the readership she deserved. As Faber Finds now reissue her complete works, now is the time to correct that.

  Chris Simmons

  www.crimesquad.com

  Preface: Remembering Celia Fremlin

  I first met Celia Fremlin at the end of 1969. I was newly arrived in London, a recent graduate from Swansea University, working for a publisher and aspiring to be a writer. Celia was a leading light in the North West London Writers’ Group and the first meeting I attended was in her house in South Hill Park, Hampstead. (Already I had reason to be grateful to her, because she had judged a Mensa short-story competition and awarded me second prize.)

  My first experience of Celia’s writing was, I think, her reading of the first chapter of Appointment with Yesterday, sometime during 1970. I was transfixed: certainly it was the most vivid thing I ever heard in my attendance at the group. Celia was writing about people who seemed completely real, whose experiences could happen to anyone. The shock of recognition was extreme. Here were women in their own homes, with noise and kindness and fear and desperation all astonishingly true to life. And there was wit – we always laughed when Celia read to us.

  Four decades would pass before I could understand something of what was really happening in Celia’s life at the time we met. It was an unpublished memoir by her daughter Geraldine that finally enlightened me. But at those meetings there was never any mention – at least in my hearing – of Celia’s daughter Sylvia or her husband Elia, both of whom had died by their own hand the previous year. It was as if these were, understandably, taboo subjects. Celia’s son, Nick, lived in the same house, with his wife Fran and little son. Their second baby, Lancelot, was born during those years when we often met at South Hill Park. (In due course Nick would publish a novel of his own, Tomorrow’s Silence, in 1979.)

  I have always resisted attempts to connect a writer’s life directly with his or her work: to do so can often diminish the power and value of the imagination. But in Celia’s case, I have always believed that her novel With No Crying would never have been written if Sylvia hadn’t died. The novel is, essentially, about the deprivation and grief that the wider family experiences when a child is lost. It is very well plotted – perhaps the best of all her work. The ‘message’ at the end is honest and wise and sad. It was not published until 1980, and – I believe – not written until a year or so before that, which was over ten years after the agonising events of 1968.

  Celia’s short stories are perhaps more telling in some ways. They are certainly unforgettably good. Those in her first collection, Don’t Go To Sleep in the Dark, are the ones I especially remember. Many of her stories involve sunlit beaches, couples on holiday, people out in the open air. This contrasts with her novels, which are usually set indoors, often in the winter or at night. Darkness and light is a strong theme in all her work.

  I was lavishly praised and encouraged by Celia in my early writing endeavours and I’m in no doubt that she was a real influence on me, if mostly subliminally. She was also very affectionate with my two baby boys, when they arrived in the mid-1970s. When we moved out of London, she came to visit us several times with her second husband, Leslie. She read my first published novel and wrote an endorsement for it. I last saw her in 1999, shortly before Leslie died.

  I am highly delighted that Celia’s books are being reissued. Her ability to capture the combination of ordinariness and individuality in her characters and their relationships, which readers find so compelling, is something I have tried to emulate. I have no doubt that these books will find a large audience of new readers, who will wonder why they hadn’t heard of her before.

  Rebecca Tope

  Rebecca Tope is a crime novelist and journalist whose novels are published in the UK by Allison & Busby. Her official website is www.rebeccatope.com.

  CHAPTER I

  “How did you feel,” they ask me, “when you first heard that your husband had escaped the terrorists and was on his way home?”

  Well, what do they expect us to say? For of course it’s not only me: I’m just one more in a long series of wives, mothers, sisters, girlfriends. How many times in recent years have you found yourself staring into the bemused close-up of some woman or other while she attempts to answer this sort of question? How did you feel when you heard he was one of the survivors …? When you heard that he’d been brought out alive …? That sort of thing. What can the poor woman say, you ask yourself: and sometimes — perhaps a little cattily — you add inside your head: and how come she’s managed to get her hair so perfectly set at such a traumatic juncture in her life?

  But of course, as a mere viewer, sitting comfortably in front of your set, there’s a lot you don’t see, and don’t know about. The way the camera crew have moved all the furniture ar
ound, for example, you’d never have guessed they’d done that, rearranging it all, even the piano, in order — I suppose — to make your very ordinary little front room look more like the kind of room a newsworthy lady like yourself might be expected to inhabit. Or is it, perhaps, not that at all, but merely to make room for the five cameras with their five sets of wires and tripods? Why five, one wonders, just for photographing one unremarkable face — but of course one doesn’t ask. You are not the one to ask the questions on an occasion like this: your job is to answer them. So anyway, five cameras, and a corresponding number of photographers and technicians, large, loose-limbed and space-consuming, all crowding in with their bags and their boxes of equipment and wires all over the carpet. There’s the sound man too, and the earnest little girl with the notebook; and the bigger girl too — much bigger, actually, quite a hockey-playing type who now and then claps two boards together and says “Oick!” or some such syllable. And then, of course, standing out among all the rest, there is the stunningly handsome young man (well, he’s forty, probably, but you know what I mean) in jeans and sweater who seems to be running the show and whose job it is, when the time comes, to ask the silly questions.

  Ah yes, the questions: I still don’t seem to have answered them, not even the first one; but luckily the sound man seems to have hit some kind of a problem; he’s getting the little girl with the notebook to start bleating something into an amplifier for him; so that gives me a few more moments in which to think. What did I feel when I first heard etc. etc.?

  “Over the moon!” is, I know, the standard response — and of course I should have come out with it at once, soundtrack or no soundtrack. “Over the moon!” or, “It was the most wonderful moment of my life!”

  That kind of thing. The way the others all do.