Silent In The Grave (40 page)

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Authors: Deanna Raybourn

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BOOK: Silent In The Grave
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“Fornacci,
Fornacci,
” I told her again, knowing even as I did so I might as well try to teach a dog to sing. “And yes, he is coming to England with us. He wishes to travel, and it is a perfect opportunity for him to spend time in a proper English home. My brothers invited him.”

“And you did not encourage him?” she demanded, her eyes slyly triumphant.

“Well, naturally I had to approve the invitation, as it were. It would have been rude not to do so.”

I scrawled out a list of details that must not be forgotten before our departure. The heel of my scarlet evening slipper required mending, and I had left Plum’s favourite little traveling clock with the watchmaker to have the hour hand repaired and the glass replaced. Violante had thrown it at Lysander and dented the hands badly.

Morag continued to loom over the desk, contented as a cat. I could almost see the canary feathers trailing from her lips.

“Morag, if you have something to say, do so. If not, leave me in peace. I am in no mood to be trifled with.”

“I have nothing to say, nothing to say at all,” she said, moving slowly to the door. She paused, her hand on the knob. “Although, if I
were
to say something, I would probably ask you how you think Mr. Brisbane will like the notion of you coming home with that young man.”

A pause, no longer than a quickened heartbeat.

“Morag, Mr. Brisbane’s feelings are no concern of mine, nor of yours. I shall retire in a quarter of an hour. See that the bed is warmed. It was chilly last night, and I shall blame you if I take a cold.”

She made a harrumphing noise and left me then, thudding along the marble floors in her heavily-soled shoes. I waited until she was out of earshot before folding my arms on the desk and dropping my head onto them. Nicholas Brisbane. The private enquiry agent who had investigated my husband’s death. I had not thought of him in months.

Or, to be entirely accurate, I had suppressed any thought of him ruthlessly. I had smothered any thoughts of him stillborn, not permitting myself the indulgence of even the memory of him. There had been something between us, something indefinable, but
there,
I had been certain of it. But nearly five months had passed without word from him, and I had begun to think I had imagined it, had imagined the moments that had flashed between us like an electrical current, had imagined the one searing moment on Hampstead Heath when we had both of us reached beyond ourselves and clung to one another feverishly. There was only the memory of that endless kiss to comfort me, and the pendant coin he had sent me by messenger the day I had left England.

I drew the pendant from the depths of my gown, turning it over in my palm, firelight burnishing the silver to something altogether richer. It was warm from where it had lain against my skin all these months, a talisman against loneliness. I ran a finger over the head of Medusa and her serpent locks, marveling at the elegance of the workmanship. The coin was old and thin, but the engraving was sharp, so sharp I could imagine her about to speak from those rounded lips. I turned it over and touched the row of letters and numbers he had had incised as a code only I would decipher. I had felt a rush of emotion when I had first read it, certain then that someday, in some fashion I could not yet predict, we would find our way back to each other.
For where thou art, there is the world itself.

And yet. Here I was, five months on, without a single word from him, his pendant now cold comfort for his indifference. I laid my head back down on my arms and gave one, great, shuddering sob. Then I rose and carefully placed the pen into its holder and closed the inkwell. I tamped the pages of my notes together and laid them on the blotter. I opened the morocco portfolio and dropped the pendant into it. Medusa stared up at me, expectant and poised to speak. I closed the portfolio, snapping the closure with all the finality of graveyard dirt being shoveled onto a coffin. Whatever had sparked between Nicholas Brisbane and I was over; a quick, ephemeral thing, it had not lasted out the year.

No matter, I told myself firmly. I was going home. And I was not going alone.

BOOK CLUB QUESTIONS FOR SILENT IN THE GRAVE
Please find a series of questions that could be used by book clubs interested in discussing
SILENT IN THE GRAVE
at greater length.

We hope these questions enhance your enjoyment of the book, and spark interesting and spirited debate.

1. Julia Grey was born into a family of wealth and prestige. How do the Marches resist the confines and expectations of society?
2. How is Julia’s role within her marriage reflected in the setting of Grey House? Contrast the setting of Grey House with that of Nicholas Brisbane’s rooms in Chapel Street.
3. As an arrangement between friends rather than a love match, Edward and Julia’s marriage was typical of the time. Why, then, was it unsatisfactory?
4. The book covers a murder investigation, but also a woman’s journey to find her authentic self. Describe the most important ways Julia begins to know herself.
5. At the heart of the book is Julia’s relationship with two men: Edward and Nicholas. Compare and contrast these relationships.
6. To what extent is Simon a villain? Are his actions justifiable?
7. In the book, the motive for murder is jealousy. Is it possible to kill something you truly love?
8. Death had its own culture in Victorian England. Compare and contrast this to modern attitudes about death.
9. The happiest relationships in this book are not conventional ones. Describe the happiest relationships and discuss why they are so satisfying.
10. Was justice served by the outcome of the novel?
11. Given their characters and histories, is a romantic relationship between Julia and Nicholas sustainable?
12. Nicholas struggles with flashes of precognition. Is this ability a gift or a curse? How could he make better use of it?
13. What drives Nicholas? How does he differ from the other men in Julia’s life?
14. Given the drawbacks of living in Victorian England, and the privileges of wealth and good birth, would you like to trade places with Julia?
15. Discuss how the issue of homosexuality is handled in the book. Are the homosexual characters sympathetic? How are their choices a reflection of life in a more restrictive and repressive time?
All the characters in this book have no existence outside the imagination of the author, and have no relation whatsoever to anyone bearing the same name or names. They are not even distantly inspired by any individual known or unknown to the author, and all the incidents are pure invention.

All Rights Reserved including the right of reproduction in whole or in part in any form. This edition is published by arrangement with Harlequin Enterprises II B.V./S.à.r.l. The text of this publication or any part thereof may not be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, storage in an information retrieval system, or otherwise, without the written permission of the publisher.

This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the prior consent of the publisher in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser.

MIRA is a registered trademark of Harlequin Enterprises Limited, used under licence.

MIRA Books, Eton House, 18-24 Paradise Road,

Richmond, Surrey, TW9 1SR

© Deanna Raybourn 2006

ISBN 978-1-408-91476-2

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