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‘How tragic that he lost his wife.’
‘Indeed, miss.’ There’s a laden silence. ‘But we don’t speak about that.’
I sit back. I had hoped that Tom’s loquaciousness might lend itself to a confidence, but seemingly not on this matter. Two people now have refused to speak to me about the former woman of the house. What happened to her?
I am expecting us to come across the Hall suddenly, to catch a quick glimpse of it between trees or to swing abruptly through the park gates, but instead I spot it first as a ragged smudge on the hill. That’s how it appears – as an inkblot the size of my thumb, spilled in water, its edges seeming to fall away or dissolve into air. There is something about its position, elevated and alone, that reminds me of a fortress in a storybook, or of a drawing of a haunted house, its black silhouette set starkly against the deepening orange of the sky. As we approach, I begin to make out its features. To say that Winterbourne is an extreme-looking house would be an understatement.
It’s hard to imagine a more dramatic façade. The place instantly brings to mind an imposing religious house – a Parisian cathedral, perhaps, decorated with gaping arches and delicate spires. Turrets thrust skyward, and to the east the blunt teeth of a battlement crown remind me of a game of chess. Plunging gargoyles are laced around its many necks, long and thin, jutting, as if leaping from the building’s skin. Lancet windows, too many to count, adorn the exterior, and set on the western front is what appears to be a chapel. I was scarcely aware of having entered the park, and it strikes me that we must have crossed into it a while ago; that the land we’ve been driving on all this time belongs to Winterbourne.
Gnarled trees creep out of the drowning afternoon. To our left, away from the sea, spreads a wild, dark wood, dense with firs and the soft black mystery of how it feels to be lost, away from home, when you are a child and the night draws close. On the other, the sea is a wide-eyed stare, lighter and smoother now we are near, like pearls held in a cold hand. I see what Tom meant about the drop from the cliffs: the land sweeps up and away from the hall, a brief sharp lip like the crest of a wave, and then it is a four-hundred-foot plummet to the rocks. Further still into that unblinking spread I detect Polcreath Point, the tower light, a mile or so from the shore.
‘Here we are, miss.’ Tom turns the Rolls a final time and we embark up the final stretch towards the house, a narrow track between overgrown topiary. Leafy fingers drag against the windows, and the car rocks over a series of potholes that propels my vanity case into the foothold. At last we emerge into an oval of gravel, at the centre of which is an unkempt planter, tangled with weeds.
‘Winterbourne Hall.’
I gaze up at my new lodgings, and imagine how my arrival must look. A throbbing engine, a lonely car – and a woman, peering skyward, her hand poised to open the door, and some slight switch of nameless apprehension that makes her pause.
*
The first thing I notice is the smell. It isn’t unpleasant, merely unusual, a liturgical smell like the inside of a church: wood, stone and burning candles.
There are no candles burning. The entrance is gloomy, lit by a flickering candelabrum. ‘Ticky generator,’ explains Tom, taking off his cap. ‘We use fires, mostly.’ I look up at the chandelier, its bulbs bruised with dust and casting an uncertain glow that sends tapered shadows across the walls. The ceiling is ribbed and vaulted, like the roof of a basilica, but its decorations are bleached and crumbled. A staircase climbs ahead of me, a faded scarlet runner up its centre, bolted in place by gold pins. Some of the pins are missing and the carpet frays up against the wood like a rabbit’s tail. On the upper walls, a trio of hangings in red and bronze sits alongside twisting metal sconces, better suited to a Transylvanian castle than to a declining Cornish home. There is a large stone fireplace, coated in soot, and several items of heavy Elizabethan furniture positioned in alcoves: elaborate dark-wood chairs, an occasional table, and a hulking chest with edges wreathed in nail heads.
On the landing above, I see closed doors, set with gothic forging. The windows are heavily draped in velvet, with tasselled tiebacks. Dozens of eyes watch me watching. Paintings of the captain’s ancestors bear down from every facet.
For a moment I have the uncanny sense of having been here before – then I place the connection. The headmaster’s study at Burstead. How, when a girl was called in for a flogging, she would be surrounded by an army of onlookers – those men, tyrants past, with their shining eyes and satisfied smirks, their portraits as immovable as the headmaster’s intention, and she would stand in the red punitive glow of the stained-glass window and bite her lip while the first lash came…
Afterwards, when they couldn’t decide how the tragedy had happened, they brought us all in for a whipping; perhaps they thought the belt would draw it out of us as cleanly as it drew blood to the skin. The difficulty was that nobody except me knew the truth. Nobody else had been there. They sensed a secret, dark and dreadful, rippling through the dormitories like an electrical charge, but I was the only girl who knew and I wasn’t about to share it. So I kept my lips shut and I let the lashes come for me and for the others, and time passed and term ended and school finished not long after that.
I blink, and take my gloves off.
‘Where are the children?’ I ask. ‘I should like to introduce myself.’
Tom gives me a strange look. ‘The captain asked us to settle you in first, miss. The twins can get overexcited. They like to play games.’
‘Well, they’re children, aren’t they?’
He pauses, as if my query might have some other answer.
‘What happened to their previous governess? The woman before me?’
‘She left,’ Tom replies, too quickly and smoothly for it to be the truth. ‘One morning, suddenly. We had no warning, miss, honestly. She sent word days later – a family emergency. She was mighty sad about it, hated letting the captain down. We all of us hate to let the captain down. It’d be horrible if he was let down again, wouldn’t it, miss? After the effort he’s gone to, to bring you down here. There’s only so much a man can take. The captain said there was no way round it, and the world exists outside Winterbourne whether we like it or not. Because you do feel that way, miss, here, after a while. Like Winterbourne is all there is, just the house and sea. You find you don’t need anything else.’ His expression is unfathomable, doggedly loyal.
‘Do the children miss her terribly?’ I am not sure if I am talking about the governess or the children’s mother: this pair of doomed women, for a moment, seem bound in a fundamental, terrifying way, but the thought flits free before I can catch it.
‘Of course they do,’ Tom says. ‘But they’ll warm to you even better.’
I’m about to ask my predecessor’s name – it seems important to know it – when there is a noise on the staircase: a shuffle of footsteps, a slow, lilting gait, punctuated by the unmistakable point of a cane. When my employer comes into view, I take a step back. I have never seen anyone in my life who looks like this.
‘The new governess,’ he says bluntly, twisting his cane into the stair.
For a moment I forget my name.
‘Alice Miller,’ I say at last.
The man steps forward, into a pit of shadow so that I can no longer see his face. Captain Jonathan de Grey. The name that has followed me from London, from that interview that seems like years ago in spite of it being days – from before then, even, if that were possible. ‘I trust you had a good journey,’ he says, in a peculiar, remote voice. ‘We’re very pleased that you’re here. Very pleased indeed.’
Chapter 3
New York, present day
Rachel Wright stepped on to the podium to address her guests. Pride filled her as she took in the gallery launch, the people mingling, the inspiring artworks and the sheer transformation of the space she had purchased six months ago from rundown warehouse to edgy exhibition. Immediately, she felt his eyes on her.
‘Ladies and gentlemen,’ Paul, her assistant, announced as he tapped the microphone. ‘May I introduce the woman responsible for tonight: Founder and Director of the Square Peg Gallery – Rachel Wright!’ Paul smiled as he led the applause. He wanted to please her. Everyone did. Rachel commanded respect. Little was known about her private life and the care with which she protected it was a point of staunch admiration. Paul and the others knew about the big thing, of course. But nobody mentioned it.
‘Thank you all for being here tonight,’ Rachel began. ‘And thanks especially to our sponsors, without whom none of this would be possible – in particular White Label Inc. and G&V Assets.’ She deliberately named his firm second; it was a stupid power thing. More applause, for them or for her, it didn’t matter. She needed their funds and they needed her association. She’d said as much in her pitch. Where was their commitment to community culture? Were their rivals delivering on social responsibility? She remembered launching her petition in his boardroom, the way his black eyes had trained into her as they trained into her now, challenging her. How did he always manage it? Rachel could present to sponsors from here to Milan, could sit opposite the greatest creatives in the world, but with him, well, he made her feel the spotlight. It was the excitement of their arrangement, she supposed.
‘If this gallery hasn’t stopped to breathe, then neither have I,’ Rachel told her audience, thinking of the three hours’ sleep she had grown accustomed to snatching; of the caffeine she lived off and the cigarettes she was trying to give up but that sometimes pushed her that extra hour into the night, of the determination – ‘my mother had another word for it,’ she joked – that took an idea out of one’s head and made it a reality; of the team she’d had behind her; of her Upper West Side apartment that she never spent any time in and that had become overtaken by work. Talking about the gallery was like talking about herself, for she had given everything to it over the past eighteen months. Art was her passion and her purpose. She had always found sanctuary in it, in its possibility and lack of boundary, in its subjectivity and beauty, in its strength to innovate and energise, to change minds and start dialogues. Since she could remember, she’d been happiest staring into a painting or admiring a sculpture, imagining the stories that went into it and, in doing so, she was able to forget her own.
As always when Rachel spoke in front of big crowds, she wound up feeling they were waiting for more. Perhaps they were. They knew, after all, what had happened to her back in 2012. It had been in the papers, talked about over breakfast tables. Did they expect her to reference it? She wondered, sometimes, if she should. That maybe if she mentioned it once, that would be enough. That would sate their curiosity about whether it was an event she acknowledged and accepted, an event she had dealt with. Perhaps she didn’t ever bring it up because she hadn’t dealt with it.
Her speech closed to the sound of rapturous appreciation. Rachel dared herself to find his face. It wasn’t difficult. She could just imagine the scent of his aftershave, which she caught when they embraced, just inside the angle of his shirt collar.
*
Of course he followed her back from the launch. Mutually they had decided not to be seen together in public. On the surface neither wanted their position to be compromised – his investment muddied the waters somewhat – but deep down it was their shared reluctance to commit. A no-strings arrangement suited both fine. Secret liaisons at her apartment or his heightened the thrill. Being linked officially made it too serious, too much of a fact. Rachel wasn’t ready for that. She liked the emotional distance.
She was stepping into the shower when she heard the buzzer go.
‘Aaron.’ She answered the door in her gown. ‘It’s two a.m. Can’t you sleep?’
He grinned. ‘Not without you.’ He leaned in and she turned her face away, just a fraction, to tease him, even though she knew she would let herself be kissed.
‘You were sensational tonight,’ he said, his arms looping round her waist.
‘Thank you.’
‘I mean it. I was impressed.’
She could never tell how sincere he was being. Aaron Grewal was arrogant and proud (as she suspected were many multimillionaires), and she had a reasonable inkling he slept with other women. But she didn’t care. This wasn’t about heart and soul; it was about danger and distraction. Aaron was different to what she was used to…to what was missing. He was like her late nights, her coffee, her deadlines, a quick fix to get through, nothing permanent or serious, nothing it would hurt to lose.
Afterwards, they lay in each other’s arms. It was nice to be held, to hear the warm beat of another person’s heart. When she’d won the pitch from Aaron’s firm, they’d told her she was one of the strongest candidates they’d seen. The word had stayed with her, become part of why she’d been drawn into romance with Aaron in the first place. He saw her strength and recognised it. Strength was the reason she was still here. It was how she’d got ahead, being decisive, being convinced: it was how she’d survived.
In the glow of the streetlight, Rachel made out the room around her: a student’s room, a rented room, a room lived in for hours at a time. Interspersed with her plans for the gallery, drawings, reports and journals filled with sketches and emails and wish lists, was a litter of empty cups, perfumes, piled up books, pictures that never made it on to the walls, propped up against wash racks, clothes strewn across the floor, handbags and pill packets and phone chargers…
There were no photographs. Aaron had commented on it when he’d first come over. No framed family, no memories, nothing personal. It hadn’t been intentional, just how things were. She couldn’t help it. The past was a stranger.
‘Goodnight, Success Story,’ Aaron murmured, kissing the top of her head.
She smiled into his chest, feeling the urge to cry. Exhaustion, that was all. And an expression of tenderness she had long learned to live without, so that when she received it, it hurt a little. Rachel had cried a lot at the start of her life, and she had cried a lot in 2012, but she hadn’t cried since. As a rule she didn’t cry. Instead she surrounded herself with noise and lights, with anything but quiet and dark.
It took ages to fall asleep. She would manage a couple of hours and that was what she preferred: a brief sliver of quiet before the day drew her into its comforting, busy embrace. And yet the shorter the sleep, the deeper her dreams… Always they came in bursts, the same one on a cycle for weeks at a time. This one had lasted longer than most. Rachel felt herself floating in a familiar space, inexplicable, tantalising, as known to her as her skin yet as alien as the stars: a dimly lit passage in a huge, impersonal house, a moon-bathed window, coarse floorboards beneath her naked feet. This faraway place called her, whispering, whispering, This is where you belong.
Chapter 4
He left before she woke the next morning. Rachel was glad, fixed herself coffee and opened her emails. Her inbox was filled with messages of congratulation. They’d made a mint on some of the more expensive works last night and several write-ups had already appeared in the morning’s coverage, calling the Square Peg launch ‘a triumph’ and ‘an enthralling odyssey into the city’s burning talent’. Paul had written with news that tickets for next month’s exhibition had sold out, and that a renowned London artist wished to make an appearance at the weekend. Rachel summoned Paul for brunch and closed her tablet.
It took minutes to get ready. Despite her lack of sleep, the bathroom mirror told her she looked good. With neat brown hair, warm hazel eyes and a smattering of freckles across her nose, Rachel was no supermodel, but she had a fine figure, great skin and she carried herself well. For a long time she had puzzled over the roots of her appearance. Most people didn’t have to – their parents were right in front of them, or they had pictures to go on, blood relatives to join the dots – and she had thought so many times about what a phenomenon that would be. Imagining her mother and father was a bit like imagining her own hypothetical child, as much of a mystery and a miracle. For she had no positioning in the world, no biological foundation: she wasn’t the branch or the leaf on a tree, running deep into the earth, permanent and enduring; she was her own shrub, small and lonely, with roots barely clinging to the soil.
Rachel had got along fine with her adoptive parents, Maggie and Greg. They had longed for a baby and been unable to have one of their own, and when they’d welcomed her at a week old, it had been the answer to their prayers. She was lucky, she knew: they’d been loving, supportive, attentive, and truthful with her, explaining her adoption as soon as she was old enough to understand. But, really, one was never old enough to understand something like that, to properly get to grips with and accept deep inside without umbrage or bitterness that you weren’t loved enough to be kept in the first place. ‘We chose you,’ Maggie used to say over and over, ‘because you were special. We adored you from the second we laid eyes on you.’ And Rachel used to take reassurance from this – that she might have been cast aside by one set of parents but at least she’d been picked up by another – until her older, more complicated years, when she had learned about the adoption process and that Maggie and Greg hadn’t selected her, she had simply been the first baby to come along. It was hard to get a baby, most childless couples wished for babies and there weren’t enough to go round, so no wonder her adoptive parents had felt she was meant to be.
Rachel knew this was ungrateful and unhelpful, so she’d stifled the truth of her emotions and instead focused on the future, always the next thing, getting ahead, refusing to look behind. When she’d referenced her mother in the gallery speech, she’d been remembering how Maggie used to describe her as ‘bloody-minded’. It was meant, for the most part, affectionately, but in her teenage years it had caused toxic fights. Rachel’s stubbornness, her iron will, whether it concerned dating a boy or staying out or refusing to finish her studies, came from a place that neither Maggie nor Greg could trace in themselves, a place so remote and unknown that it served only to remind them what was missing. That Rachel had a family out there who were just like her, and it was their blood that was running through her veins, not the Wrights’.
Maggie and Greg had died within a year of each other when she was eighteen, so she hadn’t had all that much of them either. At the time she’d mourned, but she never shed as many tears over them as she had over her imagined, other parents. It had seemed thankless and hurtful to pursue her heritage while Maggie and Greg were alive, but after they went there was nothing stopping her. Rachel knew she’d been born in England to English parents, and had ideas about travelling there, to some charming retreat or else a townhouse in London, and being welcomed by a woman smelling of vanilla sponge, a friendly wirehaired dog trailing at her feet. However, her ideas came to nothing and her search was short-lived: Rachel discovered inside a week that her birth mother was dead and she had no father listed. That was when she’d decided to close the door on the past. She spoke to no one about it. Nobody knew she was adopted and she preferred it that way. Keeping a lid on her feelings was a trick she’d learned early on, and it had certainly protected her since.
The sound of the mail hitting the mat pulled her from her thoughts. She grabbed her jacket and bent to scoop up the letters to look at later, but a single white envelope drew her up short. It was one of those envelopes that made you look twice. There was nothing menacing about it, nothing especially unusual but for the UK postal address and a red stamp reading STRICTLY CONFIDENTIAL.
She picked it up and turned it over. Private documents enclosed. There was a return address, a Quakers Oatley & Sons Solicitors in Mayfair, London.
She ran her nail along the seal and opened it.
Chapter 5
Cornwall, 1947
Only when the captain moves to shake my hand does his face return to the light. It is a fine, distinguished face: the product of centuries of ancestral perfection. His eyes are blue and clear, startlingly bright in comparison with the rest of him. His hair is black and has grown out of its cut, longer and more dishevelled than is the fashion for gentlemen, and there is a faint shadow of, or prelude to, a beard, although that could be the gloom hitting him from beneath. The chin is striking, square and sharp, and his mouth is wide, the lips parted slightly, with a curl that could be mistaken for a sneer. It isn’t a kind mouth.
I notice all this before I notice the most obvious thing: his scars. I was warned about the captain’s war wounds, but I hadn’t known about his burns. His left cheek is pitted like fruit peel, the skin pulled tight towards the angle where his jaw meets his earlobe, where it melts into spilled candle wax.
His clear, blue eyes, as they meet mine, dare me to comment. For a shameful moment I am glad of his disfiguration, for if he were flawless I might not know how to speak. There is a scent about him, of tobacco and scorched wood.
‘Thank you, Tom,’ he says, ‘but I will show Miss Miller to her room.’
‘Very well, Captain.’
The mouth lifts then, but it isn’t quite a smile. Nonetheless I return it and follow him up to the landing. We make slow, awkward progress, and I see how much discomfort his leg causes him but also the pride that prevents him from admitting it.
‘Tell me,’ he starts, ‘what are your first impressions of Winterbourne?’
‘Well, I’ve only just arrived.’ We pass a glass case filled with stuffed birds: a hawk alights on a branch, wings wide, beak screaming. ‘But I should say what strikes me is that it’s very beautiful.’
‘Beautiful.’ The captain repeats the word, as if it’s foreign. ‘Winterbourne has been described as many things, but beautiful isn’t one of them.’
‘No? I’m surprised.’
‘It was built by a band of lunatics. Hardly the way to speak of one’s ancestors, but there’s the long and short of it. Too much money and too little discrimination. They thought they were recreating Notre-Dame, I’m sure. That families should be expected to live here, generations of us, hardly came into it. No – I’ve heard daunting, intimidating, bleak, desolate… but I’ve never heard beautiful.’
‘You don’t like your home, Captain?’
He gives a short, hollow laugh. ‘It isn’t a question of me not liking it. Rather the other way round.’
I frown, but before I can speak he stops at a door and draws a chain of keys from his pocket. It is necessary for him to lean against the wall to do this, wheezing slightly, and my instinct is to help him but I don’t. We are at the end of a passage. Looking back, the way we’ve come appears impossibly long, distortedly so, a carpeted corridor flickering in the glow of feeble bulbs. Ahead is a narrow staircase, presumably the servants’ access.
‘This is your room,’ he says, and the door creaks open.
The first thing I notice is the smell of age, a musty scent that seems to rise from the floorboards and seep from the walls. The atmosphere is deep, as weighty as the green velvet drapes that hang from the high window. There is a wooden four-poster bed, carved ornately in the Jacobean style, its quilts piled extravagantly. Chenille rugs adorn the boards beneath my feet, and behind me, on the wall we have stepped through, is an elaborate scenic mural depicting some dark, tangled foliage. Its pattern is dizzyingly complicated, impossible to follow one twisted vine without getting lost in the knots of the others.
