Bøker av Celia Fremlin

'Britain's equivalent to Patricia Highsmith, Celia Fremlin wrote psychological thrillers that changed the landscape of crime fiction for ever: her novels are domestic, subtle, penetrating - and quite horribly chilling.' Andrew TaylorAppointment with Yesterday (1972), Celia Fremlin's eighth novel, concerns a woman who calls herself Milly Barnes. But this is not her real name - for 'Milly' is on the run, driven by her terrible panic that at any moment the remorseless arm of the law will catch up with her. 'Not less horrible than illicit deaths are the horrors that lurk in female domesticity, and Celia Fremlin has long been the mistress of their fictional presentation. Here, in the best so far of her always good books, she has fused both, in an excellent terror novel.' TLS

Uncle Paul (1959) was Celia Fremlin's second novel, and consolidated the success of her suspenseful debutThe Hours Before Dawn.Fifteen years ago Uncle Paul was exposed as a murderer by his wife Mildred, and sent to prison. Now a seaside holiday for Mildred's half-sister Isabel and her family seems to be the venue for Uncle Paul's revenge. Mildred arrives at a lonely cottage near to Isabel's caravan site, and Isabel's urgent summons to her sister Meg brings the three women together to play out a drama of fear and suspicion, betrayal and revenge.'Beautifully played out to a startling and valid ending... Fremlin is here to stay as a major mistress of insight and suspense.' New York Times'Fremlin puts a keen edge on the reader's curiosity and keeps it there... the writing is so good throughout.'Times Literary Supplement

Yet when Linda gets engaged, Madge starts to feel an intangible peril gathering around the girl. ____In each of these short, sharp stories, the long-neglected Celia Fremlin brings women's lives into focus - and an ordinary home becomes the setting for a return of the repressed.

Ivor died in a car crash two months ago - she may not be adjusting to widowhood very well, but Imogen certainly didn't murder him. As the nights draw in, Imogen finds her home filling up with unexpected Christmas guests - but they may be looking for more than just holiday cheer.

The Hours Before Dawn (1958) was Celia Fremlin's debut fiction, and won the Edgar Award for novel of the year from the Mystery Writers of America. Over time Fremlin would earn the soubriquet of 'the mistress of psychological suspense.'Louise Henderson is a young housewife and mother, trying her best to tend to a husband, two small daughters and a constantly crying baby. Her fatigue is such that she fears she is nearing psychosis; and she can't help but feel that a new lodger in the house, a seemingly respectable schoolmistress, poses a threat to her and her family.'Tightly plotted and admirably concise... Fremlin expertly ratchets up the tension, notch by notch.' Laura Wilson'Highly intelligent entertainment, beautifully written with wit and humour.' Frances Fyfield'It grips like grim death.' Spectator

The Trouble-Makers (1963) was Celia Fremlin's fourth novel and - as Chris Simmons contends in his new preface to this Faber Finds edition - has a case to be considered among her very best.Katharine is a suburban housewife, desultorily unemployed, unhappily married, struggling to keep up appearances but consoled to some degree by the even more aggravated woes of her next-door neighbour Mary - until, that is, Katharine is brought to the disturbing realisation that Mary's predicament is in fact substantially worse. 'A cleverly devised story. A chorus of nicely-characterised suburban wives speculate on Mary's troubles. Fremlin builds up the whole thing into a crescendo of horror.' Sunday Times'One again Fremlin shows how incomparably more chilling is her quiet, semifactual style than some of the hysterical sentimentalities from Over the Water.' Guardian

Seven Lean Years (1961) was Celia Fremlin's third novel of suspense. Its protagonist is Ellen Fortescue, engaged to be married, but oddly uneasy about her approaching wedding. Her fiance Leonard is a man of varying moods, most combustibly where the subject of his stepmother Laura is concerned. Ellen is inclined to a kinder view; but then the woman Ellen calls 'Cousin Laura' does have a complicated history with the Fortescue family...'Fremlin wraps up her little mystery cunningly in this accomplished thriller-chiller of a book.' Sunday Times'Fremlin has a quite extraordinary ability for imbuing the normal with intimations of doom-to-come. And when she begins to develop her elegantly horrible climax, the shivers chase each other down one's spine.'Birmingham Post'Celia Fremlin is about our best hope to compete with the American intelligent superior suspense school.'Observer

Celia Fremlin's sixth novel Prisoner's Base (1967) served further proof of her mastery at uncovering anxieties and even terrors in the domestic sphere. It tells of grandmother Margaret, her daughter Claudia, and Claudia's daughter Helen, who share a home from which Claudia's husband is frequently absent. Claudia has a penchant for taking strangers under her wing and into the house, the danger being that they never leave. But a different danger is proposed by Maurice, a self-styled poet who boasts that he has served seven years in prison for manslaughter.'Haunting...Fremlin continues to prove that the modern horror story makes the traditional Gothic one no more than a child's make-believe.' Los Angeles Times'Gripping... a tense thriller that keeps one in suspense until the very last line.' Manchester Evening News

The Jealous One (1964), Celia Fremlin's fifth novel, opens on its protagonist Rosamund as she wakes from a mid-morning nap to find, to her delight, that she is running a temperature. Surely that explains her blinding headache, and even the weird, delirious dream in which she had murdered her overly seductive neighbour, Lindy? A great relief, then, to find this was merely the work of a fevered imagination. Until her husband exclaims, 'Rosamund! Have you any idea what's happened to Lindy? She's disappeared!...''A tense situation, ultimately resolved by a beautifully fitting plot-twist. Even more memorable than the suspense story is the witty and acute comedy.' New York Times'A brilliant example of the psychological thriller. The little worm of jealousy devours its way into the mind, gradually, page by page.' Hampstead & Highgate Express

Don't Go to Sleep in the Dark (1972) was the first gathering of Celia Fremlin's short fiction, a form in which she had published prolifically - for the likes of She, Playmen, and Ellery Queen's Mystery Magazine - while building her reputation as a novelist of psychological suspense.Female characters predominate in these tales, as does the doom-filled atmosphere that was Fremlin's metier. She explores her familiar theme of strained mother-child relations, but she also delves into the supernatural realm as well as the psychological. As ever, her capacities for making the everyday unnerving and keeping the reader guessing are richly in evidence.'Here are thirteen harrowing tales by the indisputable mistress of horror.' Chattanooga Times'An outstanding collection...all are well-written and all are possible and none should be read when alone in a dark house.' Savannah Morning News

'Britain's equivalent to Patricia Highsmith, Celia Fremlin wrote psychological thrillers that changed the landscape of crime fiction for ever: her novels are domestic, subtle, penetrating - and quite horribly chilling.' Andrew TaylorWith No Crying (1980), Celia Fremlin's eleventh novel, tells of Miranda, a daydreaming fifteen-year-old schoolgirl who has encouraged a boy to seduce her and is glad to find herself pregnant, but then bitterly resentful when her parents talk her into an abortion. She pads up her stomach, runs away from home, and finds refuge in a squat where her new housemates await the newborn keenly. How, though, can Miranda save face? 'An acute piece of social observation, psychological insight, and intuitive sympathy that makes for a very satisfying read... Quite brilliant, nicely understated, and tantalisingly real.' Hampstead & Highgate Express

'Britain's equivalent to Patricia Highsmith, Celia Fremlin wrote psychological thrillers that changed the landscape of crime fiction for ever: her novels are domestic, subtle, penetrating - and quite horribly chilling.' Andrew TaylorThe Spider-Orchid (1977), Celia Fremlin's tenth novel, is among her most unnerving. Peggy has divorced Adrian but she accepts his deep attachment to their fourteen-year-old daughter, Amelia, and hers to him. Rita is Adrian's mistress, and he believes he is in love with her - until her husband Derek agrees to a divorce. Then Adrian is appalled when Rita moves in, destroying his privacy and endangering his relationship with Amelia.'Vintage Fremlin, this is one of the best crime novels of the year... With consummate, subtle skill, the author builds up suspense.' Financial Times'To the very last paragraph we are kept tenterhooked.' Times

'Britain's equivalent to Patricia Highsmith, Celia Fremlin wrote psychological thrillers that changed the landscape of crime fiction for ever: her novels are domestic, subtle, penetrating - and quite horribly chilling.' Andrew TaylorPossession was Celia Fremlin's seventh novel, first published in 1969. Middle-class mother Clare Erskine initially thinks it a great stroke of luck when her 19 year-old daughter Sarah becomes engaged to a young man with a steady job. However Clare's betrothed, Mervyn Redmayne, has a notable black mark against him: a widowed mother with a petulant, inescapable grip on her son.Brilliant... yet another of Miss Fremlin's triumphs.' Times'Fremlin, masterly delineator of suburban sin and distiller of eerie tensions from commonplace events, achieves a formidable triumph in this new thriller... a must for addicts of the genre.' Scotsman

By Horror Haunted (1974) was Celia Fremlin's second collection of stories, and it runs the gamut of her many talents. The nightmarish plots, wit, elegance, and domestic details with an undertow of unease have lost none of their edge. 'Her Number On It' is a compelling portrait of kleptomania; the 'Unsuspected Talent' of a dissatisfied wife has dangerous consequences; while 'Don't Tell Cissie' is a superbly original ghost story. 'The reader is lulled in to a false knowledge of events... At the last moment the events are turned inside out and the actions are re-interpreted nastily, chillingly or with penetrating realism.' Catholic Herald 'A really delightful collection of short stories...the suspense, in some of them, is almost painful... [Fremlin] is the complete mistress of an extremely difficult art form.' Huddersfield Day Examiner

'Britain's equivalent to Patricia Highsmith, Celia Fremlin wrote psychological thrillers that changed the landscape of crime fiction for ever: her novels are domestic, subtle, penetrating - and quite horribly chilling.' Andrew TaylorKing of the World (1994), Celia Fremlin's sixteenth and final novel, is the story of flat-mates Bridget and Diane. Despite ten years in age between them they get on well - aside from the constant presence of Alistair, Diane's self-impressed boyfriend, in the flat. The women decide to look for a third tenant, and find Norah, who claims to be a battered wife seeking refuge. But Norah is telling lies that will put all of them in mortal danger.'Celia Fremlin is an astonishing writer, who explores that nightmare country where brain, mind and self battle to establish the truth. She illuminates her dark world with acute perception and great wit.' Natasha Cooper

'Britain's equivalent to Patricia Highsmith, Celia Fremlin wrote psychological thrillers that changed the landscape of crime fiction for ever: her novels are domestic, subtle, penetrating - and quite horribly chilling.' Andrew TaylorThe Echoing Stones (1993) was Celia Fremlin's fifteenth novel. Arnold Walker's decision to take early retirement and become caretaker and tourist guide at a Tudor mansion changes his life dramatically. His wife Mildred leaves him, and his wayward daughter Flora arrives unexpectedly and agrees to help out. Together, they must reckon with Emmerton Hall's former curator, Sir Humphrey Penrose, a sufferer from senile dementia given to spontaneous acting out of bizarre historical events, whose antics will lead to sheer bloody murder. 'Celia Fremlin is an astonishing writer, who explores that nightmare country where brain, mind and self battle to establish the truth. She illuminates her dark world with acute perception and great wit.' Natasha Cooper

'Britain's equivalent to Patricia Highsmith, Celia Fremlin wrote psychological thrillers that changed the landscape of crime fiction for ever: her novels are domestic, subtle, penetrating - and quite horribly chilling.' Andrew TaylorClare Wakefield - protagonist of Celia Fremlin's 1991 novel, her fourteenth - is more dismayed than elated when she learns of her journalist husband's escape from Middle Eastern kidnappers. Edwin is a difficult man, and home life had been so much more relaxed without him. But dismay turns to fear once Clare begins to suspect that Edwin has practiced an extraordinary deception - and for the purpose of murder. 'A thoughtful, entertaining thriller.' Booklist'I cannot recommend [it] too highly.' Time Out'Celia Fremlin is an astonishing writer, who explores that nightmare country where brain, mind and self battle to establish the truth. She illuminates her dark world with acute perception and great wit.' Natasha Cooper

'A truly funny, sharp comedy that is packaged inside a psychological thriller.' Spectator'A delightful and masterly achievement.' Financial TimesCelia Fremlin's twelfth novel, originally published in 1982, tells the tale of Martin Lockwood, a man stuck between a wife and a mistress and frustrated by his faltering doctoral thesis on depression. Then he encounters Ruth Ledbetter, a smart, unbalanced, potentially dangerous young woman who soon insinuates herself into Martin's life, his home - and his PhD.'Britain's equivalent to Patricia Highsmith, Celia Fremlin wrote psychological thrillers that changed the landscape of crime fiction for ever: her novels are domestic, subtle, penetrating - and quite horribly chilling.' Andrew Taylor'Celia Fremlin is an astonishing writer, who explores that nightmare country where brain, mind and self battle to establish the truth. She illuminates her dark world with acute perception and great wit.' Natasha Cooper

'Britain's equivalent to Patricia Highsmith, Celia Fremlin wrote psychological thrillers that changed the landscape of crime fiction for ever: her novels are domestic, subtle, penetrating - and quite horribly chilling.' Andrew TaylorCelia Fremlin's third collection of stories, first published in 1984, is a baker's dozen of gripping tales by the mistress of suspense. Within these covers are stories of family frustrations and fury - a young wife who wants rid of her husband, an elderly daughter who cannot endure her mother. Fremlin deals in the uncanny, too, constantly confounding our expectations, and those of her characters.'Wonderfully written, subtle and disturbing.' Times'Written with such perception and elegance that they repay many readings.' Glasgow Herald'Celia Fremlin is an astonishing writer, who explores that nightmare country where brain, mind and self battle to establish the truth. She illuminates her dark world with acute perception and great wit.' Natasha Cooper

'Britain's equivalent to Patricia Highsmith, Celia Fremlin wrote psychological thrillers that changed the landscape of crime fiction for ever: her novels are domestic, subtle, penetrating - and quite horribly chilling.' Andrew TaylorListening in the Dusk (1990), Celia Fremlin's thirteenth novel, concerns Alice Saunders, a woman striking out on her own following a traumatic marital breakup. But when she rents a drafty attic room in a ramshackle London boarding house she meets the mysterious Mary - a young woman clearly terrified of something, or someone.'Tart and chilling piece of superior Fremlin Gothic, with some wonderful characterization and great comic passages.' Sunday Times'Suspense and mystery at its elegant best.' Birmingham Post'Celia Fremlin is an astonishing writer, who explores that nightmare country where brain, mind and self battle to establish the truth. She illuminates her dark world with acute perception and great wit.' Natasha Cooper