The Whalebone Theatre: A Read with Jenna Pick - Softcover

Quinn, Joanna

Softcover

ISBN 10: 0593467159 ISBN 13: 9780593467152

Verlag: Vintage, 2023

Inhaltsangabe

NEW YORK TIMES BEST SELLER • A TODAY SHOW #ReadWithJenna BOOK CLUB PICK • A transporting, irresistible debut novel that takes its heroine, Cristabel Seagrave, from a theatre made of whalebones to covert operations during World War II—a story of love, family, bravery, lost innocence, and self-transformation.

“Absolute aces...Quinn’s imagination and adventuresome spirit are a pleasure to behold.” —The New York Times

“Utterly heartbreaking and joyous.” —Jo Baker, author of Longbourn

One blustery night in 1928, a whale washes up on the shores of the English Channel. By law, it belongs to the King, but twelve-year-old orphan Cristabel Seagrave has other plans. She and the rest of the household—her sister, Flossie; her brother, Digby, long-awaited heir to Chilcombe manor; Maudie Kitcat, kitchen maid; Taras, visiting artist—build a theatre from the beast’s skeletal rib cage. Within the Whalebone Theatre, Cristabel can escape her feckless stepparents and brisk governesses, and her imagination comes to life.

As Cristabel grows into a headstrong young woman, World War II rears its head. She and Digby become British secret agents on separate missions in Nazi-occupied France—a more dangerous kind of playacting, it turns out, and one that threatens to tear the family apart.

Über diesen Titel

Über die Autorin bzw. den Autor

JOANNA QUINN was born in London and grew up in Dorset, in thesouthwest of England, where her debut novel, The Whalebone Theatre, is set.She has worked in journalism and the charity sector. She is also a short storywriter, published by The White Review and Comma Press, among others. She teaches creative writing and lives in a village near the sea in Dorset.

Auszug. © Genehmigter Nachdruck. Alle Rechte vorbehalten.

Chapter 1

The Last Day of the Year

31st December, 1919
Dorset

Cristabel picks up the stick. It fits well in her hand. She is in the garden, waiting with the rest of the household for her father to return with her new mother. Uniformed servants blow on cold fingers. Rooks caw half-heartedly from the trees surrounding the house. It is the last day of December, the dregs of the year. The afternoon is fading and the lawn a quagmire of mud and old snow, which three-year-old Cristabel stamps across in her lace-up leather boots, holding the stick like a sword, a miniature sentry in a brass-buttoned winter coat.

She swishes the stick to and fro, enjoying the vvvp vvp sound it makes, uses it to spoon a piece of grubby snow to her mouth. The snow is as chilly on her tongue as the frost flowers that form on her attic window, but less clinging. It tastes disappointingly nothingy. Somewhere too far away to be bothered about, her nanny is calling her name. Cristabel puts the noise away from her with a blink. She spies snowdrops simpering at the edge of the garden.

Cristabel’s father, Jasper Seagrave, and his new bride are, at that moment, seated side by side in a horse-drawn carriage, travelling up the driveway towards Jasper’s family home: Chilcombe, a many-gabled, many-chimneyed, ivy-covered manor house with an elephantine air of weary grandeur. In outline, it is a series of sagging triangles and tall chimney stacks, and it has huddled on a wooded cliff overhanging the ocean for four hundred years, its leaded windows narrowed against sea winds and historical progress, its general appearance one of gradual subsidence.

The staff at Chilcombe say today will be a special day, but Cristabel is finding it dull. There is too much waiting. Too much straightening up. It is not a day that would make a good story. Cristabel likes stories that feature blunderbusses and dogs, not brides and waiting. As she picks up the remains of the snowdrops, she hears the bone crunch of gravel beneath wheels.

Her father is the first to disembark from the carriage, as round and satisfied as a broad bean popped from a pod. Then a single foot in a button-boot appears, followed by a velvet hat, which tilts upwards to look at the house. Cristabel watches her father’s whiskery face. He too is looking upwards, gazing at the young woman in the hat, who, while still balanced on the step of the carriage, is significantly taller than him.

Cristabel marches towards them through the snow. She is almost there when her nanny grabs her, hissing, “What have you got in your hands? Where are your gloves?”

Jasper turns. “Why is the child so dirty?”

The dirty child ignores her father. She is not interested in him. Grumpy, angry man. Instead, she approaches the new mother, offering a handful of soil and snowdrop petals. But the new mother is adept at receiving clumsy gifts; she has, after all, accepted the blustering proposal of Jasper Seagrave, a rotund widower with an unmanageable beard and a limp.

“For me,” says the new mother, and it is not a question. “How novel.” She steps down from the carriage and smiles, floating about her a hand which comes to rest on Cristabel’s head, as if that were what the child is for. Beneath her velvet hat, the new mother is wrapped in a smart wool travelling suit and a mink fur stole.

Jasper turns to the staff and announces, “Allow me to present my new wife: Mrs. Rosalind Seagrave.”

There is a ripple of applause.

Cristabel finds it odd that the new mother should have the name Seagrave, which is her name. She looks at the soil in her hand, then turns it over, allowing it to fall onto the new mother’s boots, to see what happens then.

Rosalind moves away from the unsmiling girl. A motherless child, she reminds herself, lacking in feminine guidance. She wonders if she should have brought some ribbons for its tangled black hair, or a tortoiseshell comb, but then Jasper is at her side, leading her to the doorway.

“Finally got you here,” he says. “Chilcombe’s not quite at its best. Used to have a splendid set of iron gates at the entrance.”

As they cross the threshold, he is talking about the coming evening’s celebrations. He says the villagers are delighted by her arrival. A marquee has been erected behind the house, a pig will be roasted, and everyone will toast the nuptials with tankards of ale. He winks at her now, bristling in his tweed suit, and she is unsure what is meant by this covering and uncovering of one eye, this stagey wince.

Rosalind Seagrave, née Elliot, twenty-three years old, described in the April 1914 edition of Tatler magazine as “a poised London debutante,” walks through the stone entranceway of Chilcombe into a wood-panelled galleried room that extends upwards like a medieval knights’ hall. It is a hollow funnel, dimly lit by flickering candles in brass wall brackets, and the air has the unused quality of empty chapels in out-of-the-way places.

It is a peculiar feeling, to enter a strange house knowing it contains her future. Rosalind looks around, trying to take it in before it notices her. There is a fireplace at the back of the hall: large, stone and unlit. Crossed swords hang above it. There is not much in the way of furniture and it does not attract her as she hoped. A carved oak coffer with an iron hinge. A suit of armour holding a spear in its metal hand. A grandfather clock, a moulting Christmas tree, and a grand piano topped by a vase of lilies.

The piano, she knows, is a wedding present from her husband, but it has been put to one side beneath the stuffed head of a stag. Around the walls droop more mounted animal heads, glass-eyed lions and antelopes, along with ancient tapestries showing people in profile gesticulating with arrows. As blue is the last colour to fade in tapestry, what were once cheerful depictions of battle are now mournful, undersea scenes.

To the right of the fireplace is a curving wooden staircase leading to the upper floors of the house, while on either side of her, worn Persian rugs lead through arched doorways into dark rooms that lead to more doorways to dark rooms, and so it goes on, like an illustration of infinity. The heel of her boot catches on a rug as she steps forward. They will have to move the rugs, she thinks, when they have parties.

Jasper appears beside her, talking to the butler. “Tell me, Blythe, has my errant brother arrived? Couldn’t be bothered to show his face at the wedding.”

The butler gives an almost imperceptible shake of his head, for this is how Chilcombe is run, with gestures so familiar and worn down they have become the absence of gestures—the impression of something that used to be there; the shape of the fossil left in the stone.

Jasper sniffs, addresses his wife. “The maids will show you to your room.”

Rosalind is escorted up the staircase, passing a series of paintings depicting men in ruffs pausing mid-hunt to have their portraits done, resting stockinged calves on the still-warm bodies of boars.

Cristabel watches from a corner. She has tucked herself behind a wooden umbrella stand in the shape of a little Indian boy; his outstretched arms make a circle to hold umbrellas, riding crops and her father’s walking sticks. She waits until the new mother is out of sight, then runs across the hall to the back staircase, which is concealed from view behind the main staircase. This takes her down to below stairs, the servants’ realm: the kitchen, scullery, storerooms and cellars. Here, in the roots of the house, she can find a hiding place and examine her new treasures: the stick and the crescents of soil beneath her...

Details zur Ausgabe

• Verlag: Vintage
• Erscheinungsdatum: 2023
• Sprache: Englisch
• ISBN 10: 0593467159
• ISBN 13: 9780593467152
• Einband: Taschenbuch
• Anzahl der Seiten: 553
• Kontakt zum Hersteller: EDITIONS GALLIMARD; ufficio.anagrafiche@meli.it; ; Via Verdi, 8.; Assago Milano; 20090; Italien