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A Christmas homecoming : a novel / Anne Perry.

By: Perry, Anne.
Material type: materialTypeLabelBookPublisher: New York : Ballantine Books, c2011Edition: 1st ed.Description: 212 p. ; 19 cm.ISBN: 9780345524638 (hbk).Subject(s): Christmas stories | Detective and mystery stories | Murder -- Fiction | Actors -- Fiction | Whitby (Yorkshire) -- FictionDDC classification: 823/.914 Summary: In A Christmas Homecoming, a familiar face from the Charlotte and Thomas Pitt novels - Charlotte's mother, Caroline - travels with her young husband, Joshua Fielding, and his theatrical troupe to Whitby, the Yorkshire fishing village where Dracula the vampire first touched English soil in the sensational novel named after him. Joshua has arranged to produce a stage adaptation of Dracula by the daughter of Whitby millionaire Charles Netheridge during the Christmas holiday, but after the disastrous first read-through of her amateurish script, only the fact that the company is depending on Netheridge's financial backing for their spring tour keeps them at work. As tempers flare and wind and snow swirl around Netheridge's lonely hilltop mansion, a black-cloaked stranger emerges from the storm - an eerily opportune arrival, for this enigmatic figure, one Anton Ballin, turns out to be a theatrical genius. At the same time, a brooding evil makes itself felt. Instead of the theatrical triumph that Netheridge desired for his daughter, there is murder - shocking and terrifying. Anne Perry's ninth Christmas novel keeps us poised on a razor's edge of suspense, hypnotized by a story in which the heartwarming power of goodness is challenged by the seductive power of inner darkness. In the end, A Christmas Homecoming lifts the spirit and rejoices the heart.
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In A Christmas Homecoming, a familiar face from the Charlotte and Thomas Pitt novels - Charlotte's mother, Caroline - travels with her young husband, Joshua Fielding, and his theatrical troupe to Whitby, the Yorkshire fishing village where Dracula the vampire first touched English soil in the sensational novel named after him. Joshua has arranged to produce a stage adaptation of Dracula by the daughter of Whitby millionaire Charles Netheridge during the Christmas holiday, but after the disastrous first read-through of her amateurish script, only the fact that the company is depending on Netheridge's financial backing for their spring tour keeps them at work. As tempers flare and wind and snow swirl around Netheridge's lonely hilltop mansion, a black-cloaked stranger emerges from the storm - an eerily opportune arrival, for this enigmatic figure, one Anton Ballin, turns out to be a theatrical genius. At the same time, a brooding evil makes itself felt. Instead of the theatrical triumph that Netheridge desired for his daughter, there is murder - shocking and terrifying. Anne Perry's ninth Christmas novel keeps us poised on a razor's edge of suspense, hypnotized by a story in which the heartwarming power of goodness is challenged by the seductive power of inner darkness. In the end, A Christmas Homecoming lifts the spirit and rejoices the heart.

Excerpt provided by Syndetics

CAROLINE FIELDING SAW THE HUGE MANSION RISING from the steep incline ahead of them as the carriage turned the corner, and felt an almost overwhelming sense of relief. It was the end of a very long journey and she was aching with tiredness and from the biting cold. First there had been the early morning ride to the station in London. The platforms had been crowded and it had been difficult to push their way to the train with all the luggage in tow, trying not to bump into people. She had been glad to find their seats for the journey to York.   In York they had disembarked. One piece of luggage had been mislaid and, as time was short, they were desperate to find it. She had been asking the same porter the same questions over and over, until at last it was found, safely stowed in the guards' car on the train to Whitby. Then she and Joshua had almost run along the platform as the carriage doors began to clang shut, the engine belching steam and smuts, and they scrambled on just as the train began to move.   Now in the dark, surrounded by the newly fallen snow, they rode in a two-horse carriage from Whitby up to the cliff edge and this house where they would spend the whole Christmas holiday, if you could call it a holiday.   Caroline turned to look at Joshua beside her. Aware of her movement, he touched her gloved hand lightly.   "A bit brooding, isn't it?" he said ruefully. "But I expect it'll be warm inside, and we'll be very welcome."   The coach lamps did not give enough light to see his face, but she could imagine it: gentle, mercurial, full of humor. She heard the half apology in his voice.   "It'll be excellent," she said without hesitation. She would never be as good an actor as he was, because she could not help but always be herself, and it was his profession to imagine himself inside another man's skin, even his heart. But she had long ago learned to mask her feelings for the sake of those she loved, and she did love him. However, there were fears that crowded her every so often because she was so much older than he, and she did not belong to the world of the theater as he did. She feared she would always be an outsider, too old for him in the eyes of his fellows, too ordinary, undramatic, and painfully respectable. Yet she would have been miserable had she not married him, if she had given in to conventionality and remained a widow after her first husband's death. And she loved Joshua so much. She felt no inner doubt or shadow about her second marriage although outwardly it had not been at all the right thing to do.   For a moment Joshua's hand tightened over hers.   They climbed the last hundred yards of the road, horses straining against the weight of the vehicle, and finally pulled to a stop in front of the magnificent entrance of the mansion. The doors were thrown open, flooding the portico and the gravel driveway with light.   "You are right," Caroline said with a smile. "We are welcome."   A footman opened the carriage door and Joshua climbed out quickly, turning to assist Caroline. She had been glad of the cloak and her huge skirts while on the journey--they provided the only warmth available--but now they were an encumbrance as she tried to step down elegantly. She grasped Joshua's hand rather more firmly than she had intended, and stood up straight to her full height just as their host, Charles Netheridge, came out of his ostentatiously large front door. He descended the wide steps, holding out his hand.   Introductions were made and orders given. Footmen materialized to unpack the boxes and trunks and see to the horses.   Charles Netheridge was a stocky man, thick-chested, heavy-shouldered. His gray hair was still strong, but receding a little at the front as he moved into his sixties. In the flare of the outside lights, his features were blunt and vigorous, as was his manner. He had made a fortune in coal, and later also in jet. It was his pleasure to donate generously to the theater in London and to know that some of the best performances would never have found an audience without his intervention.   Now he had Joshua, one of England's most dynamic actors, in his own home, and he was brimming over with satisfaction. He led them inside, calling out orders for their comfort, refreshment, for luggage to be taken to their rooms, and anything they wanted taken care of immediately.   Caroline barely glanced around the hall, with its gray-and-white marble floor and high ceiling from which hung a splendid chandelier. The warmth now enveloped her and just at that minute, it was all she cared about.   "Mr. Singer is already here," Netheridge said cheerfully. "He told me he is to play the hero, Van Helsing." He looked a little self-conscious as he said this last, watching Joshua earnestly, as if trying to read his thoughts.   Joshua composed his expression in a manner Caroline had come to understand. He was concealing a very considerable amount of irritation.   "I think he will be," he agreed. "But we will make no final decisions until we have read through Miss Netheridge's dramatization."   "Of course, of course," Netheridge agreed. "All in good time. I hope Mr. Hobbs and Miss Carstairs, and Miss Rye will get here before too long. It's a nasty night, and set to get worse, I think. No doubt we'll have a good deal of snow by Christmas. Nine days to go before the performance." He looked at Joshua narrowly, with a steady, curiously unblinking stare. "Long enough for you to get it right, do you think? No idea if it's any good. Alice has no experience, you know."   Joshua made himself smile. "You'll be surprised how quickly a production can come together."   "Damn silly story, if you ask me," Netheridge murmured, half to himself. "Vampires, indeed! But it seems to be all the rage in London, or so they say. Who is this fellow, Bram Stoker? What kind of a name is 'Bram'?"   "Short for Abraham," Joshua replied.   "Netheridge looked at him wide-eyed. "A Jew?"   "I'm told he's Irish," Joshua said with a slight smile, but Caroline saw the slight stiffening of his body and the tension in his shoulders. She had learned not to leap to his defense: To do so was patronizing, as if there were something about being a Jew that needed explaining. But it was difficult for her. It is instinct to protect those whom we love; and the more open to hurt they are, the fiercer our retaliation.   Netheridge did not even appear to be aware that he had been clumsy, and this was not the time to let him know. They needed him in the coming year of 1898. Without his support, their next play would not open. It was the promise of that support that had prompted Joshua and the lead actors in his company to agree to spend ten days over Christmas as Netheridge's guest, and perform his daughter's amateur dramatization of Stoker's new novel, Dracula. It was fitting; in the book, a storm had washed the coffin containing the vampire ashore at Whitby. The play would be performed on Boxing Day, the day after Christmas, for an audience of Netheridge's friends and neighbors.   Eliza Netheridge came hurrying out of the passage at the back of the hall. She was a small woman with a gentle face, her fair hair just beginning to turn gray. She looked concerned as her husband made the introductions; he spoke with a touch of impatience, as if he was annoyed that she hadn't been there already, waiting for them.   "You must be tired," Eliza said warmly, looking first at Caroline, then at Joshua. "And cold. I'm sure you would like to go to your room and rest a little before dinner."   "Thank you," Caroline accepted quickly. "That is most kind. It has been rather a long journey, and we very much wish to be at our best tomorrow."   "Of course." Eliza smiled. "Will dinner at eight be suitable to you? We can always serve you something in the breakfast room at a different time, if you wish?"   "Eight will be excellent," Caroline assured her, turning toward the stairs.   Excerpted from A Christmas Homecoming by Anne Perry 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

Publishers Weekly Review

Perry's fine ninth Victorian Christmas mystery (after 2010's A Christmas Odyssey) takes Caroline Fielding, the mother-in-law of Insp. Thomas Pitt of Scotland Yard (the lead of Perry's main series), to the town of Whitby, in York, where Dracula came ashore in Stoker's recently published horror novel. Caroline and her actor husband, Joshua, are the guests of Charles Netheridge, whose daughter, Alice, has adapted Stoker's book for the stage. Joshua, who's brought the lead actors in his acting company to the Netheridges' huge mansion, hopes to parlay Alice's Dracula, to be performed for the locals at Christmas, into Charles's financial backing for the coming theatrical season. Then a mysterious stranger shows up at their snowbound door seeking refuge: Anton Ballin, who alarmingly resembles the vampire king himself. While Ballin makes some staging suggestions that improve the play, his arrival provides the catalyst for bloodshed. Caroline proves herself an astute sleuth in this challenging whodunit. (Nov.) (c) Copyright PWxyz, LLC. All rights reserved.

Booklist Review

Along with husband Joshua and his acting troupe, Caroline Fielding heads to Yorkshire to produce a play by their host's daughter, Alice, which is based on Bram Stoker's recently published Dracula and scheduled for performance on Boxing Day. The troupe receives a warm welcome, but the actors are unsettled and irritable. Unfortunately, the script is terrible, and Joshua must tactfully help Alice rewrite it. A stranded stranger, Anton Ballin, who arrives at the manor during a blizzard looking for a place to stay, helps with reworking the play, much to the annoyance of several actors. Late one night, Caroline finds Ballin stabbed with a sharpened broomstick. Heavy snow makes it impossible for anyone to travel, so the murderer must be at the manor. Unable to summon police, Caroline, mother-in-law of Perry's Victorian detective series star, Thomas Pitt, decides to investigate. Background on staging a play, plenty of vampire lore, and the personal story of Caroline's attempt to fit in with her much-younger husband's colleagues add to the appeal of this engaging locked-room mystery.--O'Brien, Sue Copyright 2010 Booklist

Kirkus Book Review

Copyright Kirkus Reviews, used with permission.

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