Hazel McHaffie

psychopaths

Behind Closed Doors

‘Behind closed doors’ … a familiar slogan, isn’t it? Instantly conjures up the horrors of domestic violence, abuse, and pathological relationships. And too often it’s women who are caught behind those doors, unable or unwilling to seek help, putting on a brave front for the outside world. So it seems like a fitting subject for a week that began with International Women’s Day on March 8th. The flags have already been raised: the Duchess of Cornwall calling for the topic of domestic violence and coercive control to be openly discussed, warning of the corrosive effect of silence; then the Duchess of Sussex using her last solo public platform before she retires from royal life to urge people to respect and value women. So let’s capitalise on that foundation.

Put the same term – ‘behind closed doors – into an Amazon book search, and instantly six titles of novels come up. Hmmm. Odd. My first check when I create a new title for my own books is to make sure it’s unique. But maybe ‘behind closed doors’ is irresistible. It’s so instantly evocative, speaking so powerfully, it can bear repetition without losing impact.

Hey ho. I’ve been sucked in, anyway. I already have two of those six ‘behind closed doors’ books on my shelves. The first one chosen because I’ve enjoyed Susan Lewis‘ writing before, and the second because I was – and still am – devouring anything claiming to be a psychological thriller.

Behind Closed Doors by Susan Lewis isn’t, I have to confess, as compelling as others she’s written. Fourteen-year-old Sophie Monroe has vanished along with her computer, mobile phone and a bag of clothes. The Detective Sergeant who’s investigating the disappearance is painfully reminded of a tragedy that tore her own family apart twenty years ago: her teenage sister vanished and has never been found. She struggles to separate the two stories and maintain perspective and judgement, as a tale of jealousy and fear and secrecy unravels. This one, to my mind, is overly generous with adjectives in places; all the characters seem to have secrets or tragedy in their past; and an improbable number of them have lost children or young parents. So I don’t plan to dwell on that one in this post.

Behind Closed Doors by B A Paris on the other hand, promised a lot. A debut novel billed as ‘makes your blood run cold … fast and frantic …heart-pounding … utterly compelling …’ it fits the basic requirements for a psychological thriller which I can analyse without previous baggage.

‘Grace Angel, wife of brilliant lawyer Jack Angel, is a perfect example of a woman who has it all – the perfect house, the perfect husband, the perfect life.’ So why are there steel shutters on their windows, high walls round their perfect garden, and one window barred? Yep, we’re wary already, aren’t we?

In his professional life, handsome, debonair Jack is the champion of battered wives. Grace has given up her career to be a stay-at-home wife so he doesn’t have to come home to an empty house or an exhausted partner. Losing is not a word in his vocabulary. And ‘everything he does and everything he says is calculated down to the last full stop. He prides himself on uttering only the truth … He is so clever, so very clever.’

Enter new neighbours, Esther and Rufus. Esther is a woman who’s suspicious of perfection. What is it with this completely joined-at-the-hip couple? Why doesn’t Grace have a mobile phone, or have her own email address, or go out to lunch without him, or honour arrangements …?

What really is going on does indeed make the blood run cold. Here is a dark mind, an amoral compass, depravity wrapped up in immaculate manners and a charming devotion. As the past and present inch closer together we are rivetted to the page, willing good to triumph over evil, dreading the psychopath out-manoeuvring the victim. The ending is very cleverly crafted and maintains the suspense to the very last page. Scary stuff but an excellent example of tense and fast-moving plotting.

But behind the fiction, lies the real-life problem. Let’s not forget hidden women everywhere for whom oppression or abuse or injustice in any form is their lived experience.

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Psychological control

I’ve been spending a fair amount of time on train stations of late, and browsing in the book sections on platforms while I wait … and wait … and wait. This week I was struck by the proportion of books in the top 60 which deal with psychology and crime – not just through fiction (there were several of those), but factual books.
Confessions of a Psychopath by ME Thomas
Stalkers by Rachel Cassidy
Talking with Psychopaths and Savages by Christopher Berry-Dee
Talking with Serial Killers by Christopher Berry-Dee
Unnatural Causes by Dr Richard Shepherd

Hmmm. Is this the current trend, d’you suppose/know?

Weirdly enough, I had a book for the journey on Thursday that takes psychological thriller writing to a whole new level. “A wonderful portrayal of psychological obsession at its creepy best’ as one reviewer puts it. The Girl Before by JP Delaney. Creepy serendipity? or just my mind atuned to the subject?

The setting for The Girl Before is an ultra-minimalist house in South Hendon in London: One Folgate Street. Austere, sterile, disciplined. Serene, calm, beautiful emptiness. A mausoleum of a place. Its award-winning architect and owner, Edward Monkford, insists on a huge number of rules – over 200! – for anyone leasing the property: no flatpack furniture, no cushions or rugs, nothing to be left on the floor at any time, no animals, no handrails, no books! …These rules constitute a restrictive covenant, a legal condition imposed on the property in perpetuity. Potential inhabitants must sign documents, fill in questionnaires, submit to being interviewed, before being selected to move in, and undergo repeated ongoing psychometric measurements grappling with intense ethical dilemmas – we get glimpses of the penetrating questions they’re asked throughout the book. Once in, they must undertake to keep the property completely uncluttered and regimented in line with Edward’s exacting standards. And every tenant so far has been a beautiful red-headed girl with determination and intelligence – facsimiles of Edward’s dead wife. Every one a vulnerable woman who has know grief and loss.

I’m always somewhat fascinated by the concept of the unreliable narrator, but it’s a tricky tactic to adopt in reality. This story follows two of the tenants – Emma and Jane – as they attempt to live up to the expectations of One Folgate Street, as they unravel the tragedies and stories relating to their predecessors. Because, for all its outward perfection, the house’s history is dark and sinister. Three people have died tragically – Edward’s wife and son amongst them. And Edward’s obsessive tendencies spill over into his control of the women sexually as well as mentally. He is looking for a pure relationship, unencumbered by convention, with a sense of simplicity and freedom on both sides. When it’s no longer perfect, each must be ready to move on, without regret.

Well written, cleverly plotted, interesting structure, well researched – and a runaway success. It took the author a decade or so to work out how to write the book, but she has captured something very special. It was well worth the wait.

I don’t pretend to be an expert in obsessive perfectionism, but it rings true. As does Delaney’s description of grief and loss, and the emotions around having a disabled child. Not surprising maybe as the author has herself lost a son, and has another one with a rare medical syndrome.

And the poignancy of this book is enhanced further for me by a report out the very day I finished it, about a five year high in the statistics for deaths relating to domestic violence in the UK. There is something particularly sinister about pathological behaviour behind closed doors. And Delaney has captured the essence of it in The Girl Before.

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Expecting the unexpected

While my current novel is still open to change I’m on the alert for anything that will improve it. And especially how to ratchet up the tension and suspense.

To that end I watched the British-made BBC drama, Killing Eve, billed as breaking with convention and putting warm heart into psychopathy. Twice!! Ahah. Some alternative angles on psychological themes then? Could be useful.

The story basically features a rather bored desk-bound MI5 security officer, Eve Polanski, (Sandra Oh) commissioned to bring a talented psychopathic assassin, Villanelle, (Jodi Comer) to justice. The chase covers continents and time-frames and languages and widely disparate settings at breathtaking speed, leaving a trail of death, destruction and confusion in its wake, constantly surprising and subverting expectation. The two women become obsessed with/by each other. Both principal actors are brilliant in their parts, and are well supported by the rest of the talented cast. Almost everyone seems to be suspect at some point or other, nothing is what it appears to be … as you might expect in a spy thriller.

Being in critical mode, I kept thinking how improbable various points were, how implausible. Incongruities, unfulfilled story-lines, questionable details … but you know what? It didn’t matter! I’m not one of those anachronism watchdogs who whinge about detail, and I’m not about to assassinate this hugely successful programme on the basis of trivial criticisms. Instead, I’m lost in admiration of the skills (at all levels, in all aspects of film-making) that went into creating it, holding me enthralled episode after episode. The eighth and final-to-date installment (8) ends with Villanelle, seriously wounded by Eve, escaping yet again. There has to be another series, and indeed one is promised. And I’m already awaiting it with bated breath.

Lesson learned? Get the big picture right, provide the compelling story, and you can be forgiven much. So … back to employment laws and grievances and settlements and ….  Research can be fascinating in its own right.

 

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