A modern day mystery haunted by a 19th Century ghost.
Eleanor Bly haunts Five Mile House, looking for someone to tell her story to. Jumping from a window to her death in 1889, Eleanor's soul is at unrest until the truth is told about her life and death. She finally finds Leslie, one hundred years later. Leslie bears an uncanny resemblance to Eleanor and is sympathetic if only because of the ghost she carries around herself...
In a moment of temporary insanity, Leslie shoots and kills the suspected perpetrator of a hideous child murder. When evidence is inconclusive, Leslie enters a severe depression and is temporarily institutionalized. When she is released from the hospital, her husband, in an effort to change their environment, takes his family to a small New England town to work on a mysterious restoration project of Five Mile House. It doesn't take long for them to hear about Eleanor, a 19th century madwoman who murdered her seven children in Five Mile House. Leslie becomes obsessed with Eleanor's story, suspecting that the truth may be different from the accepted myth. Wellington, locally known for its coven of wiccan followers, has many secrets of its own.
The stories of both women are told in parallel narratives until they converge at the very end. As frightening as it is suspenseful, Five Mile House is a classic page-turner, a haunted house story and also the story about the lengths a mother will go to in order to protect her children.
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Eleanor and Leslie (whose physical resemblance to the 19th-century Medea is uncanny) are, of course, on mirroring quests for redemption, a prize which, the madwoman's ghost realizes, carries a heavy price: "I do not crave the truth; I dread it.... Yet, without the opportunity to tell my story, all that is left me is the ephemeral, disjointed speculations of others. It is for this reason I protect Five Mile House, to hold my story safe. I protect it from the living who climb the hill to see the relic of a mad woman and pay no heed to the implications of madness in the house itself."
The trope of the madwoman in the attic has a long and distinguished literary history (think Jane Eyre), and contains a complex tangle of repressed sexual power, threatening desire, and narrative control. Novak uses the metaphor as a springboard into an exploration of history and memory--and into a rollickingly good story, complete with a search for an ancient godhead text, battling covens, and herb-induced suicide. Skillfully interweaving its 19th- and 20th-century tales, accelerating toward a simultaneous revelation of treachery and murder, Novak's ghost story is astonishingly well-balanced, elegant, and spooky. The author's deft touch imbues the novel with a dark gothicism that never veers toward the eye-rolling, shoulder-shrugging absurd. Her first effort should win Novak a legion of fans. --Kelly Flynn
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