Divided into four parts, this novel is the story of a vine-covered mansion called the hundred-year house. The story is told through four sets of interconnected people and its chronology is in reverse.
The first part, set during the year 2000, is fraught with comic desperation. Doug and Z agree to stay in her wealthy family’s coach house while he works on an academic treatise–a book he hopes will secure him a job in a university
Writing the book is torturous because Doug keeps getting distracted by the house’s history and by Miriam, whom Z’s mother has invited to stay with them.
Doug wants access to the Devohr’s attic where he hopes to find files on the artist colony. The hundred-year house was once populated by artists, including the poet that Doug is writing about, Eddie Parfitt.
More frustration ensues, however, when Doug finds that the file he sought is mostly empty, except for one photo.
Like many old houses, there is a ghost that haunts the hundred-year house. Violet, Z’s great grandmother is said to have committed suicide and left a restless spirit. The hundred-year house, however, holds much darker secrets.
The second part, set in the fifties, portrays the time when Grace, Z’s mother, moved into the House. Like her Grandmother, Grace spends most of her time alone in the attic.
From the attic’s perch, Grace becomes unusually interested in the lives of the servants, especially Max and Amy, a circumstance that will change their lives.
The last part focuses on the artists who were part of the artists’ colony in the twenties. One of them, Zilla, creates the painting that Grace desperately wants to save when she lives in the house in the fifties.
Eddie Parfitt, the poet Doug wants to write about, takes part in a scheme to save the colony. What exactly is his relationship to the Devohr family and why is there a photo of two unknown men in his file? Why is the word “Father” scrawled on the back?
The unrequited love of two darlings of the colony, Victor and Zilla, is tragic. Equally tragic is the doomed marriage of in the fourth part. The fourth part, which dips back to 1900, the year the house was built, focuses on Violet’s marriage.
The narrative’s chronology is backwards and unnerving, yet it leaves readers with a powerful image–Violet tapping on a train window. Much of the novel, this woman has been a ghost or a portrait on a wall. She is now asking readers for their full attention.
Like so many characters–Eddie, Grace, Zilla–Violet has locked herself behind a facade. The facade is tragic but, as the novel shows, necessary for survival. Even Proteus has to change forms.
If you like witty, complicated mysteries that has tragic elements thrown in, you will love this novel.
This is a novel that pulls readers in immediately because there’s so much at stake for Yasmin and her daughter, Ruby. The pair hope to rescue Matt, Yasmin’s husband and Ruby’s father, from an outpost in Northern Alaska that burned to the ground.
Despite a terrible childhood, Yasmin has found the love of her life in Matt whose adventurous spirit matches her own. Even with a few challenges–like her daughter’s disability and Matt’s tendency to wander, Yasmin believes in his love.
Police, however, have decided there are no survivors. Refusing to give up hope, Yasmin and Ruby make their way North by convincing a truck driver to take them to DeadHorse. From there they hope to take a taxi plane to Anaktue.
Yasmin takes matters into her own hands when he becomes ill; she drives the truck herself across dangerous icy roads.
Fans of psychological suspense will love Lupton’s foray into the world of ice trucking. This is a complex novel about motherhood, disability, and ethical choices.
On one hand, Yasmin has felt that becoming a mother (especially a mother to a child who is so vulnerable) has made her invisible:
“It shocked her to realize that for years she’d felt bland, dull even to herself. Around her, everyone else’s characters were clearly defined, the borders of their personalities etched sharply, but not hers. She’d had tasks and chores and love for Ruby, huge love for her, but how would she have described who she was? Somewhere along the line she’d lost the idea of herself.”
Thus, the mother’s dangerous quest to find her husband is also quest to find her lost self. Yasmin endures the bitter cold of the Dalton highway, a possible stalker and the hazards of trucking during a storm.
Equally brave, Ruby decides how and when she’ll use her voice. Despite her mother’s repeated requests that she use her real voice, Ruby uses “Voice Magic” and twitter. In one courageous move at the end, Ruby uses this technology to thwart the evil doers who wish to harm her family.
I’m re-reading a post from 2017, a review of Eight Girls Taking Pictures by Whitney Otto. I’m utterly amazed by this quote from the novel:
“She didn’t hate being a wife any more than she hated being a mother. What she hated was the way that wife, mother, and photographer created an unsolvable equation. What she hated was trying to solve the mathematics of her various roles.”
So many articles in mothers and working women’s magazine are about exactly this: the unsolvable equation of working and being a parent. To put it in another way, so many articles in the media are about work/life balance–how to achieve it. This novel, about famous female photographers is about the very same thing.
Kate Moretti worked as a scientist for ten years before turning to fiction.
Moretti’s novel, The Blackbird Season, is a compelling psychological suspense story about a family torn apart by suspicion. Nate has always been charming and well-liked, a hometown hero, so its surprising when he’s suspended from his teaching job.
His wife, Alecia, who stays home with their special needs child is barely holding it together.
Has Nate done something inappropriate with a student, Lucia, whom everyone knows to be trouble? Lucia, a platinum-haired misfit, deliberately acts strange. Nate, though, has always supported students like this–students on the fringes whom the others bully.
Alecia has many reasons to be suspicious. She finds an unexplained motel bill on her husband’s credit card. Nate also follows his students social media accounts. Nate claims he has a reasonable explanation for his actions.
Moretti sets up the characters and the situation so that Nate seems equally innocent and equally guilty.
Nate’s friend Bridget, who works at the same school, has access to some of the students’ thoughts because she is the Creative Writing instructor. Students in her class need to submit their personal journals for a grade.
In the background looms the colossal, now defunct paper mill that built and ruined many lives. Lucia, whose alcoholic father left the family, has sought shelter within its crumbling walls.
In a disturbing twist, two of the town’s baseball stars have a uploaded incriminating video involving themselves and a girl at party. Baseball is one of the town’s only source of pride so a scandal involving baseball players is bad news.
Lucia hands footage of the video to her teacher, Mr. Winters (Nate) but has not been seen since.
The tension builds to a terrifying crescendo as characters face their darkest fears. In the end, its hard to say who is guilty or who is least culpable in this incisive, suspense novel.