Celia Fremlin - Böcker

Celia Fremlin's insights into women working in a war factory is just as vivid today.Mass Observation was founded by Tom Harrisson, Charles Madge and Humphrey Jennings in 1937. Its purpose was to create 'an anthropology of ourselves' in other words, to study the everyday lives of ordinary people in Britain. Discounting an initial pamphlet, this was the tenth book to be published. It appears in Faber Finds as a part of an extensive reissue programme of the original Mass Observation titles. War Factory was originally published in 1943. It was largely the work of one 'observer', Celia Fremlin, also known as a thriller writer. It records the experiences and attitudes of women war workers in one particular factory just outside Malmesbury, Wiltshire specializing in the making of radar equipment (neither location nor purpose are, of course, revealed in the book). On publication the book's importance was quickly spotted. The New Statesman described the book as the 'first coherent and serious study' of a wartime industrial community lodged in the middle of the countryside. The Manchester Guardian called it 'a remarkable study' and the Sunday Times 'a fascinating examination'. The Daily Herald having pointed out 'the girls were grossly - and it would seem, indefensibly - overworked went on to say 'What is certain is that those who are responsible for maintaining the rhythm of war production in the fifth year of war will find no adequate solution to war-weariness if they ignore the penetrating human facts which are brought to light in such investigations as are recorded in this important book.'

'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

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 Taylor The 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 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 Taylor Listening 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

'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

'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 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

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

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

'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

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

'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

WATERSTONES THRILLER OF THE MONTH AUTHOR: 'Britain's Patricia Highsmith' (Sunday Times)Discover the original psychological thriller as a sleep-deprived young mother struggles to stay sane.'A lost masterpiece.' Peter Swanson'Brilliant ... Such clever, witty writing.' Elly Griffiths'Fremlin packs a punch.' Ian Rankin'Splendid ... Got me hooked.' Ruth Rendell'A slow-burning chill of a read by a master of suspense.' Janice Hallett'The grandmother of psycho-domestic noir; Britain's Patricia Highsmith.' Sunday TimesLouise would give anything - anything - for a good night's sleep. Forget the girls running errant in the garden and bothering the neighbours. Forget her husband who seems oblivious to it all. If the baby would just stop crying, everything would be fine.Or would it? What if Louise's growing fears about the family's new lodger, who seems to share all of her husband's interests, are real? What could she do, and would anyone even believe her? Maybe, if she could get just get some rest, she'd be able to think straight . . . WINNER OF THE 1960 EDGAR AWARD FOR BEST MYSTERY NOVEL'Barbara Pym with arsenic.' Clare Chambers'Sinister, witty and utterly compelling. A genius.' Nicola Upson

Times Book of the Month: a spine-chilling classic festive Christmas crime mystery from beloved author of Waterstones Thriller of the Month, Uncle Paul.'Brilliant ... Such clever, witty writing.' Elly Griffiths'Fremlin packs a punch.' Ian Rankin'A master of suspense.' Janice Hallett'Glorious ... Got me hooked.' Ruth RendellJolted from sleep by the ringing of the telephone, Imogen stumbles through the dark, empty house to answer it. At first, she can't quite understand the man on the other end of the line. Surely he can't honestly be accusing her of killing her husband, Ivor, who died in a car crash barely two months ago.As the nights draw in, Imogen finds her home filling up with unexpected guests, who may be looking for more than simple festive cheer. Has someone been rifling through Ivor's papers? Who left the half-drunk whiskey bottle beside his favourite chair? And why won't that man stop phoning, insisting he can prove Imogen's guilt ..?'Beautifully written . . . Fremlin's sly, subtly feminist take on the ghost story is a gem.' Sunday Times'Reads as if it were written yesterday ... Makes you laugh, smile or wince in recognition on virtually every page ... This clever, clear-eyed mystery is the perfect antidote to the often fake bonhomie of the festive season.' Times Book of the Month'Barbara Pym with arsenic.' Clare Chambers'A genius.' Nicola Upson

WATERSTONES THRILLER OF THE MONTHBBC RADIO 4'S OPEN BOOKOne family's skeletons emerge on a 1950s seaside summer holiday in this classic mystery from 'Britain's Patricia Highsmith' and 'grandmother of psycho-domestic noir' (Sunday Times)'Makes the hairs on the back of your neck stand up .. Take it on holiday with you.' Times'Brilliant ... Such clever, witty writing.' Elly Griffiths'Fremlin packs a punch.' Ian Rankin'Splendid ... Got me hooked.' Ruth Rendell'A slow-burning chill of a read by a master of suspense.' Janice Hallett'A dark delight. Witty, unsettling domestic noir. Imagine Barbara Pym with arsenic.' Clare ChambersThe holidays have begun. In a seaside caravan resort, Isabel and her sister Meg build sandcastles with the children, navigate deckchair politics, explore the pier's delights, gorge ice cream in the sun. But their half-sister Mildred has returned to a nearby coastal cottage where her husband - the mysterious Uncle Paul - was arrested for his first wife's attempted murder: and family skeletons emerge. Now, on his release from prison, is he returning for revenge, seeking who betrayed him? Or are all three women letting their nerves get the better of them? Though who really is Meg's new lover? And whose are those footsteps ...?'Sinister, witty and utterly compelling. A genius.' Nicola Upson

A classic seaside psychological thriller from author of Waterstones Thriller of the Month, Uncle Paul: 'Britain's Patricia Highsmith' and the 'grandmother of psycho-domestic noir' (Sunday Times)'Brilliant ... So witty and clever.' Elly Griffiths'Fremlin packs a punch.' Ian Rankin'Splendid ... Got me hooked.' Ruth Rendell'A master of suspense.' Janice HallettFOUND IN FLAT was all she could see of the headline, but it was enough: enough to freeze her hovering hand ...Milly Barnes has just arrived in the seaside town of Seacliffe. Between windswept walks on the beach, she settles into lodgings and finds work as a Daily Help. Except this isn't her real name - 'Milly' is on the run from her past life, escaping a nightmare marriage. Abandoned by her first husband for another woman, she took revenge by marrying Gilbert: but this proved a terrible mistake. Trapped in a London basement flat, she became a victim of his increasingly paranoid delusions. But what really happened in that underground dungeon? And is somebody on her trail, the hunter in a game of cat-and-mouse ...?

Spine-chillingly creepy Halloween tales of horror from author of Waterstones Thriller of the Month, Uncle Paul: the 'grandmother of psycho-domestic noir' (Sunday Times) for fans of Shirley Jackson, Patricia Highsmith and Stranger Things.'Few people can chill the blood like Celia Fremlin.' Telegraph'Grips like grim death.' SpectatorI tried to open my mouth to call out again; but it was not my mouth that opened; it was a great beak, jutting out of my face, cruel and curved like a bird of prey ...In the high flats, up near the clouds, Hilda and her baby twins reach a fateful end ...An aunt feels foreboding about her niece's new fiance - but the darkness comes from within ...A haunted babysitter experiences a little girl's terror of The Hen With The Great Big Eyes ...One teenage girl's evening home alone is ruined by a mysterious unexpected visitor ...A little boy's obsession with angels leads to a dramatic metamorphosis ...Celia Fremlin's classic Gothic story collection is a masterpiece of psychological horror, mining the darkest elements of marriage, childhood, and ageing; probing paranoia, grief and toxic relationships; inviting the ghosts of the past into our present; and exploring the nightmarish secret impulses and supernatural forces lurking beneath suburban Britain.

A classic psychological thriller from author of Waterstones Thriller of the Month, Uncle Paul: 'Britain's Patricia Highsmith' and the 'grandmother of psycho-domestic noir' (Sunday Times)'Brilliant ... So witty and clever.' Elly Griffiths'Fremlin packs a punch.' Ian Rankin'Irresistible.' Val McDermid'Splendid ... Got me hooked.' Ruth Rendell'A master of suspense.' Janice HallettLindy had a lovely voice. It rose into the summer darkness clear and true as a nightingale; or was it, rather, like a bird of prey?Rosamund wakes up from her mid-morning nap to find, to her delight, that she is running a temperature. Surely that explains her blinding headache, and the weird, delirious dream in which she had murdered her overly seductive neighbour - the Other Woman - in a vengeful act of jealousy? A great relief, then, to find this was merely the nightmarish work of a fevered imagination. Until her husband exclaims, 'Rosamund! Have you any idea what's happened to Lindy? She's disappeared!.'

Spine-chilling tales for dark nights from Celia Fremlin, 'Britain's Patricia Highsmith' (Sunday Times) who is 'Irresistible' (Val McDermid), 'brilliant' (Elly Griffiths), 'a master of suspense' (Janice Hallett), 'packs a punch' (Ian Rankin) and 'got me hooked' (Ruth Rendell)He was smiling, and covered in blood - face, hands, pyjamas - everything and in his hands - thrust towards her like a birthday gift - was Julie's teddy-bear, soaked and dripping with blood.This collection of spine-chilling Gothic miniatures from Celia Fremlin is a nightmarish showcase of macabre domesticity: controlling husbands rub shoulders with manipulative wives, parasitic visitors meet fatal accidents, there are nervous breakdowns, toxic relationships, sinister villagers and mob justice. With an unerring nail, Fremlin picks the scabs concealing domestic fault lines and chills our blood.

Spine-chilling tales for dark nights from Celia Fremlin, 'Britain's Patricia Highsmith' (Sunday Times) who is 'Irresistible' (Val McDermid), 'brilliant' (Elly Griffiths), 'a master of suspense' (Janice Hallett), 'packs a punch' (Ian Rankin) and 'got me hooked' (Ruth Rendell)And then, suddenly, like a great yellow sea-monster rising from the deep, her mother's face lurched upwards, grimacing, contorted . . .Welcome to Celia Fremlin's nightmare world: from idyllic cottages to cruise ship holidays, seaside weekends to school sports days, nothing is as it seems. Whether a trip to Dead Man's Rock or a reports of flying saucers in suburban gardens, Fremlin reveals the uncanny lurking beneath our everyday lives - revenge, family feuds, murder and ghosts are never far away .