Grange House: A Novel

Grange House: A Novel

by Sarah Blake

Paperback(First Edition)

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By the author of the New York Times bestseller The Postmistress

Maisie Thomas spends every summer at Grange House, a hotel on the coast of Maine ruled by the elegant Miss Grange. In 1896, when Maisie turns 17, her visit marks a turning point. On the morning after her arrival, local fishermen make a gruesome discovery: drowned lovers, found clasped in each other's arms. It's only the first in a series of events that casts a shadow over Maisie's summer. As she considers the attentions of two very different young men, Maisie also falls under the gaze of Miss Grange, who begins to tell her disturbing stories of her past.

Rich with the details, customs, and language of the era, Sarah Blake's Grange House is a wonderfully atmospheric, page-turning novel of literary suspense and romance.

Product Details

ISBN-13: 9780312280048
Publisher: Picador
Publication date: 06/01/2001
Edition description: First Edition
Pages: 384
Sales rank: 74,052
Product dimensions: 5.86(w) x 8.18(h) x 1.01(d)

About the Author

Sarah Blake is a graduate of Yale University and New York University, where she received her Ph.D. in Victorian literature. She is the author of Grange House and The Postmistress. She lives in Evanston, Illinois.


Washington, DC

Date of Birth:

December 10, 1960

Place of Birth:

New York, NY


BA Yale College, 1983; MA San Francisco State University, 1991; PhD. New York University, 1996

Read an Excerpt

Chapter One

If you have come for a long stay, you must arrive at Grange House by water. The House sits at the farthest edge of the harbor from Middle Haven town, the last habitation before the harbor gives way to the open sea, and though a road runs between the town and Grange House, it is narrow and rocky—entirely unsuitable for the conveyance of large families with luggage. Rather, you must take the night steamer from Boston, which deposits you at the Grange House pier before teatime.

    I like to stand in the prow of that boat, steaming farther and farther north and east, and be the first to feel the air sharpen and cool, leaving the damp heat of Boston, the shipyards at Portsmouth, and voyaging into the clear silence born in the chill air of Maine. And though I watch for it, I am never prepared for the first sight of Grange House on its point, though I know the approach, and early learned to read where the slick black shale ledges of the shoreline turn to the white granite boulders marking the entrance to Middle Haven's harbor.

    If you have arrived this way, most likely you are what the native people like to call a rusticator, a city dweller come for the cooler air of the north. From the pier, the steamer's side appears lined with such visitors as she draws near, and the captain brings her along at a smart clip. Then he gives the engineer two bells and a jingle and guides her right in. You can see the mate now, waiting with the forward spring line in his hand before he tosses that hawser neatly over the piling just as the bow nudges alongside. He holds it, straining, and she's inagainst the pier with hardly ajar. You are arrived into a mayhem of unloading, the wharf dipping below the weight of trunks and summer guests. There you stand, surrounded by the men's cries and the groaning creak of the steamer's lines straining against the pier; and then you turn and look up the lawn to the House, set high and away, atop its granite foundation.

    In such a way, I came again to Grange House in July of 1896, this place at once familiar and always strange. Long ago, my father had invested in the Grange quarry, but then the place itself took hold. When the quarryman's mansion turned hotel to a few select city families, he fixed the habit of returning every year, though Mama protested, bemoaning the distinct lack of variety in a landscape of spruce and pine. Nonetheless, the enormous old house suited the high pitch of my nerves that summer. At seventeen, I was as eager to know the world as it seemed eager to shroud itself from me, and fretful at what I thought were my bonds, I had begun to wear my white dresses like flags, a slim Crusoe signaling for the distant triangle of sails to break the flat line of what appeared to me but an endless, dulled sea.

    As I followed behind my father and mother, I looked up at the top of the House to see if I might spy a figure there watching our advance up the lawn from the windows of her attic room. I never thought of Grange House without that figure standing in it. That afternoon, I did not see her, but, hoping she still looked for my return, I held my gloved hand up in a small salute.

    "Maisie," Mama called from the top stair of the verandah.

    "I am here," I replied, dropping my hand down to my side, but she had already swung round to follow my father across the threshold into the House, not lingering to take in the view. I cast one last glance upward, and then, gathering my skirts, took the remainder of the lawn with quick feet.

    My parents were stopped just inside, next to Mrs. French, the long, wide front hallway stretching past them, with its several doors to the public rooms swung open and the hubbub of teatime voices issuing into the air. It was ever so, year after year: here in the front hall the mix of salt air and cut bayberry, the branches stuffed into matching copper pots upon the table, the silvery green leaves waxy as ever against the paper roses upon the wall. It was only I who seemed to change, a knife cut in the vergeless surface of the place, my arrival cleaving one summer from the next. And that afternoon in July, I remember thinking I was like the Prince returning to the Sleeping Beauty's castle. Let the story begin, I thought impatiently, now that I am here—though what I meant by that, I had not the slightest idea.

    "Well, well, my dear!" the housekeeper cried out on seeing me upon the threshold, and she beamed the compliment over to Mama, who smiled absently, pulling off her gloves.

    "Are we to have our usual rooms, Mrs. French? I am quite in need of a little rest."

    "Yes, of course. Please, Mrs. Thomas, to follow me."

    "Welcome, Thomases," a quiet voice spoke from the doorway just behind Papa. We all three turned round, to see the cook of Grange House standing silently there, her arms crossed over her bosom. Mama gave only the briefest of nods before turning to follow Mrs. French, who waited at the bottom of the stairs.

    "Cook." Papa bowed kindly to the woman.

    "Good afternoon, Mr. Thomas," she answered, dismissing him as she leaned slightly back against the door frame and turned her gaze upon me. Papa never seemed to mind the cook's inexplicable command of their encounters, and I had by now grown accustomed to this woman's yearly scrutiny. Yet that afternoon, I relished the chance to consider her in turn, and I calmly lifted my eyes to hers and smiled.

    For an instant, I thought she shivered.

    "Maisie Thomas," she said, swiftly uncrossing her arms, "how you have grown." And without another word, she withdrew.

    Never mind, I thought, a bit disconcerted, she is not the important one. For though it was Cook who ran Grange House from belowstairs, and Mrs. French who held public sway in the middle rooms and floors, nonetheless it was the topmost figure—she whom I had watched for on our arrival—who was the possessing spirit of the place. I dressed quickly for dinner that evening, descending before my parents to station myself at the foot of the stairs and there await the attic inhabitant of Grange House. And long after the other guests had assembled, passing me by with a nod and a greeting, and after Mama and Papa had issued through to join them, it was she whom I now imagined descending the wooden attic stairs from her room at the top of the House to reach the servants' hall upon the third floor, then down the next stairs into the regions of the second floor, where the large rooms of her family's time had been changed to accommodate we summer people come to stay. Then on down the widest stairway, into the bright, hospitable lights of a fashionable hotel shining its face up for the rush and hum of dinner, into the clap and shiver of bodies just cased in new dresses and thin suits, into the soft mayhem of summer evenings—when our lives might suddenly thrill, and open.

    "Miss Grange!" I smiled up.

    She caught her breath on seeing me and paused in her descent.

    "Maisie Thomas."

    Though there was pleasure in her voice, the deep-sunk blue of her eyes regarded me with a touch of bewilderment. I supposed she saw what my mirror told: My cheeks now held the shape of a woman's face, and beneath the dark brown eyes turned to welcome her lay the secret longings of my untried heart. I had caught Mama watching me furtively, as though she read a hidden chapter in my familiar face, and even Jessie—who had dressed and tended me since I was a girl—exploded forth from time to time despite herself, ripping out the seams of my bodices and commenting dryly about "welcome attentions."

    "Miss Grange?" I hesitated.

    She recovered herself. "How greatly you resemble your father," she replied, and drew her hand beneath my arm so we proceeded together into the hum of the bright gathering.

    Miss Grange was something of an enigma for the summer guests. She did not own the hotel, yet she inspired a curious respect. When she did choose to come among us, she was greeted as a visiting dignitary, or even as a monarch long exiled from the proceedings of her own court. It is not to be thought that she was important in any pertinent way. Rather, her magnificence derived from the fact of her lineage. Hers was a family whose roots were among the first to stretch down into American soil. No one knew precisely her connection to the men who had built this House, but it was commonly assumed she was a distant and poor relation who had come here to live after the main branch of the family passed away. Thus, her romance derived from her situation: She was the last Grange remaining. The history of her family preceded her into the very rooms it had built and peopled and vanished from long before the summering plutocrats arrived at the fortunes that brought them here.

    And among the younger guests, there were the whispered rumors of buried wealth, the half-uttered suggestions of a lost love, of a secret pact into which she had entered when she came into the House. Once, Papa told me that she had been an authoress, yet surely none of her stories could rival the stew pot simmering at the back of the guests' imaginations. Thus was Miss Grange cast as a living character in the casual entertainment of city folk seeking simplicity under the sharp lines of a Maine sky. Simplicity, that is to say, inmixed with a good country intrigue.

    "Here is Miss Grange," I said, drawing her to where my parents conversed, and Mama and Papa turned round. Mama's mouth opened into the vague and generous smile she always gave when her thoughts tended elsewhere, but Papa took Miss Grange's hand in his, visibly startled.

    "But—you are not well?"

    Miss Grange stiffened, and, withdrawing her hand gently, she nodded but did not reply.

    "Really, Ludlow," Mama interposed. "Forgive him, Miss Grange. You look wonderfully well, as always," and she drew her hand beneath Papa's arm, turning him as the dinner bell sounded. Gallantly, he offered his other arm to Miss Grange, who did not take it but walked at his side into the dining room.

    That night, several of the other guests had gone to a supper party being held in a neighboring hotel, so the dining room was laid with quite diminished table settings, and our little group joined the two solitary diners already seated at our customary table: Mr. Cutting—the illustrious and tiresome schoolmaster, whose head gleamed in the gas-light like a polished knob where he sat, starched napkin at the ready, his spoon poised in his hand, awaiting his soup—and the large and definitively unaccompanied Mrs. Hunnowell. It would seem, she informed us without prelude, that she was utterly abandoned. Her husband had returned to Boston for the week's business, and where Bartholomew might be, she really couldn't say, her eyes rolling indulgently at the empty chair beside her. I smiled. Year after year, Mrs. Hunnowell did not disappoint, remaining the kind of woman whose conversation consisted mainly of melodramas she concocted, her head tilted upward, as if the endings hovered just above us in the painted heavens of the room.

    I took the abandoned chair beside her, knowing full well that Bartholomew, her son, could never be depended upon to be in the ordinary place at the ordinary time. Having penned a series of very successful travel books for those on their grand tour, Mr. Hunnowell proceeded through life, appearing and disappearing very much like the kind of train he advised young men to catch—off schedule and bound for unknown parts. Mama entirely disapproved of his unsettled behavior—a man of thirty, after all! Even as I could not dismiss him so entirely, I did find him disquieting. One never knew with him precisely where one stood—or rather, where he stood. For every summer he appeared among us, breezy and refined, playing a wide array of roles—brave gallant, avid sportsman, irreverent parlor man—and then a sometimes Bedouin intensity would flash out amongst the parts, making him unreadable, provokingly so.

    "After all," Mr. Cutting's musing broke in, "the day turned out to be fine."

    Mama nodded politely at him, and as Mrs. Hunnowell motioned the serving girl forward to begin, I put aside all thoughts of Bart Hunnowell and his character.

    Amid the clatter of the serving of the soup, I studied Miss Grange across the table. Though she could not be more than fifty, the winter past seemed to have settled an elderly gray upon her cheeks, and a blue vein pulsed too brightly upon her hand. Papa was right. There was something shifted, for I do not think I imagined the heavy sadness deep down in Miss Grange's eyes, now giving them the kind of deathly beauty of a poem: Pale beyond porch and portal, I repeated to myself, Crowned with calm leaves she stands. She caught my eye upon her and winked. I reddened and looked down. I have been reading too much Swinburne, I thought, and smiled to myself.

    "Will you please to just look at that?" Mrs. Hunnowell breathed beside me, and I caught the erstwhile rose hip slip from behind her ear, to fall upon the broad pavilion of her bosom.

    I followed her gaze out the side window, where, indeed, a fleet and incomplete tableau had formed of the sort the summer guests most appreciated. Now a man's uncovered head leaned down to whisper into the ear of a young woman. From where we sat, the woman stood too small for us to see more than just the gentle swell of her forehead, though her hand had flown up to rest upon the back of the man's neck.

    And then in an instant, they had parted. But just as the young man turned, I caught sight of his face.

    "Henry Brown!" I said aloud.

    "But who is the girl?" wondered Mrs. Hunnowell, delighted. I did not reply. Yet something of the tilt of her head had called to mind Halcy Ames, I realized a bit wistfully, watching Henry Brown's sturdy back and shoulders advance without haste down the lawn toward his boat, oblivious to the rapt attention we paid his small encounter.

    I could not think of Halcy Ames without a twinge of regret, for once upon a time we had been staunch companions, though she was Cook's daughter and I a guest. As a child, she had done light maid's work at Grange House in the mornings, filling each guest room's fireplace with new wood and making fresh the beds upstairs. Younger than I by two years, she was pretty in her way—tiny, her hands completing her tasks as efficiently as wood squirrels about their trees, and I grew accustomed to accompanying her as she went about the beds, fetching clean linens and smoothing spreads at her command.

    Then one day, she was tidying my mother's dressing table, straightening the glass bottles and brushes on its marble top, and I was pulling Mama's scarves from her dresser drawer. We were busy talking, standing side by side, looking at each other in the looking glass above the table, resembling nothing so much as sisters that morning, our two small faces animated and dancing as we talked—so we did not hear Mama's hand on the knob, but when she suddenly spoke from behind us, Halcy jumped so, she knocked one of Mama's perfume bottles off the table. It made a terrific noise, shattering into several tiny pieces at our feet.

    "Oh! You clumsy girl!" Mama exclaimed. "Just see what you have done!"

    I leapt stoutly to Halcy's defense. "But you startled us, Mama."

    "A good serving girl, Maisie, must learn to be always on the ready for the entrance of her mistress without event. Fetch a broom, please, Halcy, and clear this away."

    Halcy's eyes met mine in the mirror as she passed from the room. I did not understand then her face's shuttered look, but from that day on, she began to call me Miss Thomas, and though I teased her about it, she persisted. This insistence on my formal name hurt me so that gradually I ceased to search her out in the mornings, the divide between us widening to a polite silence.

    Papa's elbow jostled against me as he rose from dinner. All about me there was movement and sound, and I winnowed back up into the clutter of life. Papa stood, his hand upon Mama's chair as he listened to Miss Grange recounting the terrible storm that had blown down three of the laurels out front, her combs like smooth shells held against the slick water of her hair. Mama sat poised, I could see, to detail the season's toll on her own garden. I pushed back my chair, suddenly vexed. Around me in the dining room came the same bursts of voice, the hushed movements of the maids as they cleared away the unused silver and the tiny saltcellars before setting out the decanters for the men. Above the mantel, the stilted figures of a couple embraced upon their horses in a forgotten English vale. Everything was just as it always was! I longed for something—anything—so long as it happened. I sprung out from the slow-moving throng with its discussion of winter, stepping ahead through the low-lit front hall and out, out into the night, onto the piazza, whose white columns glowed against the black sparkle of the harbor under stars. Far down the lawn, some of the men strolled, and their white collars flashed in and out of the dark like fireflies. If they turned to regard the fine old house, I would be indistinguishable, a light shadow of white against the white.

    Under this blanketing velvet dark containing its faraway men and cigars, I yearned for color, a bright sweep of red flames to flare into being. It wasn't clarity or vision I wanted, no—say instead that I had come to perceive there was something I lacked. That year, I had begun to read books as though begging entry, leaning to the pages as if pressing my ear to a door. Then it seemed the pages would sing out some strange song and, slight music that it was, I'd feel an answering swell of dim comprehension, though I knew that mine was the echo of the song, not the song itself. Sorrow; Rage; even a high, vaunting Gladness—these were foreign breezes from countries to which I had never voyaged, so each book became my little craft, each page a sail set out to catch those distant winds upon which Brontë, Pliny, Chapman, Ovid, all, indiscriminate, seemed to play. And I would sit at my window and strain into the dark behind the glass, longing to see through into the heat of my life, into the knowledge that I, too, would possess something at the heart of me to tell; that there was a promise held out for me. For me alone.

    "Good night, Miss Maisie Thomas." Miss Grange's soft voice stole around the column, a kind of tired laughter underneath the sound. I felt caught out. I turned to my friend.

    "Good night, Miss Grange."

    But she had already vanished through the dark doorway, and I could just hear Papa's muffled voice inside, pausing in his conversation to bid her good night as she passed by. In my mind's eye, I followed the tidy figure as she mounted slowly to her room, imagining the light on her table rising, seeing her draw back the curtain to stand at her window. And my eyes refocused with hers, staring out at the white collars pocking the dark lawn. One separated from the crowd with a casual laugh backward over his shoulder. It appeared he had a meeting. My heart throbbed. I strained my eyes into the dark, but the lights from inside the house cast an obscuring perimeter. I stepped around to the corner of the piazza, which ran in front of the now-darkened dining room, and peered out.

    There! There was a white dress.

    It waited. The collar approached. I could hear the long legs of the man switch through the grasses. The two were meeting in a near corner of one of the fields that stretched by the side of the front lawn. I watched the collar bend, like a star gliding down to the waiting sea. I watched the two white arms rise.

Reading Group Guide

Q: After reading Nell Grange's diary, Maisie Thomas says, "So long had I lived in Nell Grange's world, looking outward through her heart and mind, that when I raised up and saw Miss Grange's shrouded body before me, I could not affirm with whose eyes I now saw." Is this a novel of possession? And if so, of whom by whom?
Q: In the first chapter of Grange House, Maisie reflects that "I would sit at my window and strain into the dark behind the glass, longing to see through into the heat of my life, into the knowledge that I, too, would possess something at the heart of me to tell; that there was a promise held out for me. For me alone." Is it possible for us to have something at the heart of us that is only ours to tell? How does Grange House explore the ways in which each of our stories and plots, are inextricably entangled with those of our parents? Does becoming oneself, discovering the voice for one's own story, mean revising, or in this case finishing, the story of our mothers and fathers?
Q: In A Room of One's Own, Virginia Woolf writes, "We think back through our mothers if we are women." How does Grange House literalize this thought? How does the house itself force Maisie to think back through her mother? And does she find a room of her own in rewriting the story of the house? What does this suggest about the ways in which young women come into their own stories, or voices?
Q: Miss Grange tells Maisie that all of the women of Grange House remain there, though they are dead. "We are, every one of us, all up here. Ourselves the very haunting. Ourselves the very house. What was longed for and did not come to pass, that is the stuff of haunting - that is the stuff of age-old fictions." How does the novel explore the connection between houses, especially family houses, and the women who lived in them? How do houses function as keepers of memory or of desire? Does a woman's house, at times, tell the untold story of the woman herself?
Q: "No one, especially a woman, can build a life in open air," Maisie's father tells her one evening. "There must be forms. There must be vases. Wish all you might, your visions will shrivel and die if you have no place in which to set them. The most beautiful bloom is that which has been forced upward through a narrow casing." Does the novel contradict or revise this ideal for feminine growth? Does Maisie's journey through the various layers of story and diary represent "a narrow casing"?
Q: Frustrated by her attempts to render the scene around her, Nell Grange writes in her diary, "nothing can represent us - nothing satisfy," And towards the end of the novel, Susannah says to Maisie, "You cannot see me, though you look. You see Susannah of the diary. And then you see Cook of Grange House." And she suggests that Maisie should look in the gap between those two figures to really find the woman. What does this suggest about the nature of history?
Q: How does Grange House ask us to think about the boundaries between truth and fiction? Which is more "authoritative," Miss Grange's diary? Or the ghost story she uses to introduce Maisie to the history of Grange House?
Q: "It seems the world is but an echo to you," Maisie says to Miss Grange, "and ourselves but repetitions." How does Grange House tell a story of a young woman breaking free of old plot lines? On the other hand, how does Grange House also show that old plot lines are impossible to repeat? How different is Maisie from the women whose story she comes to tell?
Q: Sarah Blake set out to write a novel that kept the language and the structure of a Victorian novel. How does this contribute to the telling of a tale? How does it affect the reading of it? Why do you think she wanted to set this story of self-discovery in the Victorian era?
Q: What is the relation of the landscape of Maine and its seasons to the characters involved? How do fog and clear blue skies work within the plot lines of the book?

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Grange House 4.3 out of 5 based on 0 ratings. 22 reviews.
Guest More than 1 year ago
This is an exciting and beautifully written story. I came to this book as a fortysomething businessman who knows nothing of Victorian fiction but who vacations each summer on the Maine coast. Grange House is a mystery story seen through the eyes of a likable young woman struggling to find her place as she reaches adulthood in 1896. The characters, whether rustic Maine natives filled with humor and irony or more pretentious summer visitors from Boston and New York, are engaging and perfectly drawn. Yet, while summer parties and jokes and romances are pleasant diversions, the core of this book is a complex mystery that builds suspense and excitement as it is carefully constructed and then swiftly and perfectly unwound ¿ I had no idea how this story was going to end. With much of the Maine coast little changed since 1896, I¿d love to see a movie version of Grange House.
Vivianne_Gray More than 1 year ago
This is one of my absolute favorite books of all time! I've bought nearly 20 copies of it to give as gifts. Sarah Blake has a magical writing style that draws the reader into the book as if into another world. The descriptions alone read like poetry; the story itself is one of love, life, and happiness. This is my go-to read for long plane rides, and I recommend it to everyone.
Guest More than 1 year ago
This is one of my new favorite books. I really couldn't stop reading. There is enough mystery to keep you wanting more.
Guest More than 1 year ago
I had the opportunity to read an advance copy of this extraordinary first novel. It's like Austen crossed with Wilkie Collins, meets Virginia Woolf. If you like a great story, that is more than just a story, with ghosts and dead bodies, and mysteries, and hard decisions about what to do with your life and how to invent yourself as a writer, then you'll love this book. If you like historical fiction that crosses genre boundaries, or if you like books that sweep you up and transport you into another world, then you'll love this book.
DavesWife More than 1 year ago
This book captured me right from the beginning, and that was the first thing I loved about it. The story line was differnet from other historical novels I've read. It led me on to want more and more and made me look forward to what was to happen next. I hated when I got to the last page--it meant this literary journey was finished. Sarah Blake is a wonderfully vivid writer. Reading Grange House was like a movie for my mind. Very visual.
just-a-thot More than 1 year ago
The style of writing tricks you into thinking you are reading a novel that was written during the Victorian era. A "ghost story" within a story about a woman who is asked to write a book about this story. However, it is a very good read, and well worth it! I felt like I was reading a novel that Sarah Blake wrote as a "thesis" for her degree in Victorian Literature.
Guest More than 1 year ago
I'm still waiting to find another book like this one! I could not put it down. I loved the historical fiction, and mystery.
sumariotter on LibraryThing More than 1 year ago
The first time I read this book, I was enthralled. This book has an over-the-top Gothic plot. It's romantic, it's a ghost story. It's Victorian and creepy and suspenseful and interesting. It's no Jane Eyre, but it definitely aspires to be and frankly, I was happy just to read a contemporary novel that makes the attempt. I re-read this recently, and this time I did a lot of skimming since I knew what was going to happen, and the melodrama stretched my patience. Still, it is an interesting read.
ladycato on LibraryThing More than 1 year ago
When Maisie Thomas and her family return to Grange House in 1896 for their annual summer visit, she has no clue how this particular year will change her life. The almost-spectral figure of Miss Grange invites Maisie to be part of the house's story - one fulls of ghosts, lost children, and disasters visited upon generation after generation - and Maisie runs in fear. However, fate will not let her stray far. Calamity falls upon her family, and Maisie is drawn into Miss Grange's mystery, even as two young men begin to vie for her affection. As young as she is, Maisie knows one thing: she will not marry simply because it's what she is supposed to do, and nothing will ease her heart until she knows the secret of the grave in the woods.Grange House is beautifully written with a strong clear voice. It would be easy to read it and assume it was written over a hundred years ago. Every scene - even the sentence constructive - has a distinct Victorian-Gothic lilt. The story is enjoyable as well, with the ghosts, secrets, and hidden identities that one would expect. Maisie is a likeable girl, and very true to her time period. One of the major twists to the ending seemed obvious to me for a while, but I didn't foresee everything so it still had a nice surprise.
victorianrose869 on LibraryThing More than 1 year ago
9-17-2008This debut novel is so incredibly lyrical and poetic that I keep going back to it and just opening it up at a random page and reading a passage here and there. It¿s so evocative of Charlotte Bronte that I¿m sure the author must have been influenced heavily by her, which would make sense anyway because Blake has a degree in Victorian literature. Indeed I believe her intent is to reinvent the classic Victorian novel in the tradition of Bronte or Radcliffe, and she really does an admirable job. This story is set in 19th century America, on the wind-swept coast of Maine, as 17-year old Maisie Thomas and her parents return to Grange House for their usual summer holiday. Although Maisie has been coming with her parents to Grange House every year all of her life, this is the year that the secrets of Grange House and of her own family begin to emerge, and Maisie makes some truly earth-shaking discoveries about herself and her family. On top of all that she must struggle mightily with her own conflicting desires as she approaches womanhood and tries to find a balance between the intellectual stimulation and experiences she craves and the conventions of the times in which she lives. The summer starts off inauspiciously when a pair of runaway lovers are found drowned in the sea nearby, one of them a serving girl from Grange House, and Maisie is drawn into the veiled, convoluted ramblings of Nell Grange, the woman to whose family the house once belonged and who still resides in the upper rooms of the house, roaming above the guests¿ heads like a restless shadow. A lone, sad grave in the woods hints at a history still untold, and Maisie soon learns that, willing or not, she will be the one to tell it. Don¿t let the young age of the protagonist put you off. This is not a young adult novel, although it would be perfectly appropriate for teens (in fact, if teens want to get a taste of what true, talented writing is (I won¿t revisit my unkind thoughts on certain people in the YA market calling themselves `writers¿ *cough cough*), I highly recommend it. At any rate, it is definitely a mainstream adult novel and I would compare it most closely to a modernized Jane Eyre in style and feel. Blake certainly has the gothic Victorian atmosphere nailed, complete with fog, rambling old houses, secrets and muttering old ladies in attics, but without the more overwrought, eye-rolling dramatics. Maisie is a protagonist any woman can be proud of, too ¿ and that¿s saying something coming from me, because I generally dislike more female protagonists than I like! The sheer beauty of the language is more than worth the read, as well. It was like reading poetry in long form, or listening to a perfect melody. Blake spins out the story slowly, almost tortuously, and I was on tenterhooks until the very last page. Ask my husband! For the last 10 pages I literally had to get up and walk around the house, reading as I walked, because I was just so tensed up and tormented about how it was going to end! I¿m such a sucker, but that only speaks to the talent of this new voice in fiction. I¿m all over this Sarah Blake now and will be watching closely for her follow-up.
bcquinnsmom on LibraryThing More than 1 year ago
A very very good book. Recommended for those with lots and lots of patience who don't want just to cut to the chase. The author of Grange House, Sarah Blake, has a degree in Victorian literature. This book is her attempt at a Victorian-period piece of writing, set in America -- both ghost story and gothic. It takes a while to get into the book, but once you're there, it is highly reminiscent of something that one of the Brontes might have written.Grange House, a hotel, formerly the homes of the Grange family, is the setting for this story. Maisie Thomas, the heroine of the story, sees a ghostly figure, then not much later, is there when the bodies of her childhood companion/servant Halcy, the cook's daughter & her fiance. Maisie believes (as does the reader) that this ghostly figure was Halcy herself. Thus we are introduced to Maisie's ability to see the dead or to have prescient knowledge of death. In order to understand the story of Halcy's death, Maisie has to first understand the story of Grange House and indeed of the Grange family....from the mother of Miss Grange (the current owner) to the mysterious "cousin" who appears out of nowhere and with whom one of the sisters, Susannah, falls in love. Miss Grange lives in the attic of the hotel, where she brings Maisie to talk to her. Miss Grange also brings Maisie to a small clearing in the woods behind Grange House, where Maisie has another vision. Miss Grange prevails upon her to find the story of Grange House and the Granges, and provides her with diaries & Miss Grange's own writings to help her in her effort. To get her started, Miss Grange provides her with a story about how Grange House was haunted -- by the ghost of a child that Miss Grange's mother left behind for dead when she left Ireland to come to America.But what is the REAL story? And Grange House does have a somewhat postmodern fascination with truth and believability (if there is such a word, if not, I apologize). To write the story in one's own words, based on a story from another, one cannot really know the truth since truth has to be mediated and not immediate. Maisie finds lots of answers, but has to give up a lot in order to find them.Readers looking for your cut and dried ghost story or gothic tale will not like this book because it is rather tedious at times. You have to really read this one very carefully because if you miss something (as I did) you have to go back and search it out. You really have to be able to put up with the heaviness of Victorian writing, and the author does such a fine job with her story telling it was hard for me to remember this book was just recently published.
mmhubbell on LibraryThing More than 1 year ago
If you like 19th C. novels such as those by the Bronte sisters, you will probably enjoy this book. Sarah Blake is a scholar and professor of 19th C. literature and in this, her first novel, she has fit in just about every classic gothic twist and turn -- from ghosts and mysterious strangers to abandoned babies and drowned lovers. But though it it all VERY complex and (melo)dramatic, Grange House is written well enough that (though the events seem unlikely!) it never quite goes over the top to ridiculous!Maisie Thomas, at 17, returns to Grange House, an inn on the coast of Maine, where she has summered most of her life with her mother and father. She has a special friendship with the elderly Miss Grange, the surviving member of the family who owned the house, and now lives as a semi invalid in the attic room where her reclusive mother lived before her. At 17, Maisie is no longer a child and though she is approaching the time when her parents want to marry her off to a suitable husband, she feels a great yearning to break free from that mold, and like Miss Grange, be a writer and independant free spirited woman.Miss Grange, recognizing this yearning and creative spirit in Maisie, declares that Maisie must "finish the story" of Grange House which she cannot. She shares her dairies with Maisie, and her fictionalized stories of her life at Grange House, in which Maisie's father -- a business friend of Mr. Grange's -- played a role. A series of tragedies turned the once happy Grange House into a sad place haunted by memories and events that repeat and repeat in Miss Grange's stories and diaries. Maisie tries to discern the truth in these stories, at the same time she is trying to find her own place in the world.This novel really has a very feminist theme -- should a young woman be aiming her attention towards love and marriage, or should she fulfill her creative spirit though it may leave her alone and reclusive? I realized at the end that it was really the actions and theory of a man outside of the family, on how a woman of a certain age "should" behave, that set a whole series of events and the tragic plot of the story in motion.The storyline is complex, the series of tragedies almost melodramatic, but the mystery is compelling and I stayed up late in the night to get to the end and find out the "secret" of Grange House!
jedisluzer on LibraryThing More than 1 year ago
I admit this book was right up my alley. What an amazing job she did of evoking a voice that made you believe it was written in a much earlier era. As a writer, I also liked the examination of the concept of "story" in this book.
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I did not enjoy this book.
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Actually i gtg now bia!