The Woman in Black: A Ghost Story

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Overview

Set in Victorian England, Arthur Kipps, a junior solicitor in London, is summoned to Crythin Gifford to attend the funeral of Mrs Alice Drablow, and to sort through her papers before returning to London. It is here that Kipps first sees the woman in black and begins to gain an impression of the mystery surrounding her. From the funeral he travels to Eel Marsh House and sees the woman again, plus he also hears the terrifying sounds of adult and child passengers sinking into the quicksand on a pony and trap.

Despite Kipps’s experiences he resolves to spend the night at the house and fulfil hi professional duty.It is this night at Eel Marsh House that contains the greatest horror for Kipps. Rescued by Mr Daily, a friend he met on the train, Kipps discovers the reasons behind the hauntings at Eel Marsh House. The book ends with tragedy, with the woman in black exacting a final, terrible revenge.

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Editorial Reviews

From the Publisher

‘A rattling good yearn, the sort that chills the mind as well as the spine’ — Guardian

‘She writes with great power… Authentically chilling’ — Daily Telegraph

‘An excellent ghost story… magnificently eerie… compulsive reading’ — Evening Standard

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Product Details

ISBN-13: 9780307745316
Publisher: Knopf Doubleday Publishing Group
Publication date: 1/3/2012
Series: Vintage Series
Edition description: Movie Tie in Edition
Pages: 176
Sales rank: 119,242
Product dimensions: 5.24 (w) x 8.42 (h) x 0.54 (d)

Meet the Author

Writer, journalist and novelist Susan Elizabeth Hill was born in Scarborough, Yorkshire in 1942. For part of her education she attended a grammar school in Coventry before studying English at King’s College, University London. By then, she had written her first novel, The Enclosure (1961), in the evenings and at weekends, and it was accepted by a publisher while she was in the 6th Form, and published just as she arrived at King's.

On gaining her degree in 1963, Susan became book review editor for the Coventry Evening Telegraph. After five years in this post she turned to writing full-time.

Gentlemen and Ladies was published in 1968 and this was followed in quick succession by A Change For the Better, I’m the King of the Castle, The Albatross, Strange Meeting, The Bird of Night, A Bit of Singing and Dancing and In the Springtime of the Year all written and published between 1968 and 1974.

Susan married in 1975 and moved to Stratford upon Avon. Her daughter, Jessica, was born in 1977, followed by a premature daughter Imogen in 1984 who died 5 weeks later. After a period of grieving her creative output continued, particularly in non-fiction and plays for radio. She began writing novels again in the early 1980's, with the successful The Woman in Black (1983), a ghost story, which has achieved great success on the stage, then went on to publish Air and Angels (1991), The Mist in the Mirror (1992), Mrs de Winter (1993) and The Service of Cloud (1997).

Susan now lives in a farmhouse set in 50 acres of the North Cotswold countryside.

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The Woman in Black

By Susan Hill

Vintage

Copyright © 2011 Susan Hill
All right reserved.
ISBN: 9780307950215

Christmas Eve

It was nine-thirty on Christmas Eve. As I crossed the long entrance hall of Monk’s Piece on my way from the dining room, where we had just enjoyed the first of the happy, festive meals, toward the drawing room and the fire around which my family were now assembled, I paused and then, as I often do in the course of an evening, went to the front door, opened it and stepped outside.

I have always liked to take a breath of the evening, to smell the air, whether it is sweetly scented and balmy with the flowers of midsummer, pungent with the bonfires and leaf-mold of autumn, or crackling cold from frost and snow. I like to look about me at the sky above my head, whether there are moon and stars or utter blackness, and into the darkness ahead of me; I like to listen for the cries of nocturnal creatures and the moaning rise and fall of the wind, or the pattering of rain in the orchard trees, I enjoy the rush of air toward me up the hill from the flat pastures of the river valley.

Tonight, I smelled at once, and with a lightening heart, that there had been a change in the weather. All the previous week, we had had rain, chilling rain and a mist that lay low about the house and over the countryside. From the windows, the view stretched no farther than a yard or two down the garden. It was wretched weather, never seeming to come fully light, and raw, too. There had been no pleasure in walking, the visibility was too poor for any shooting and the dogs were permanently morose and muddy. Inside the house, the lamps were lit throughout the day and the walls of larder, outhouse and cellar oozed damp and smelled sour, the fires sputtered and smoked, burning dismally low.

My spirits have for many years now been excessively affected by the ways of the weather, and I confess that, had it not been for the air of cheerfulness and bustle that prevailed in the rest of the house, I should have been quite cast down in gloom and lethargy, unable to enjoy the flavor of life as I should like and irritated by my own susceptibility. But Esmé is merely stung by inclement weather into a spirited defiance, and so the preparations for our Christmas holiday had this year been more than usually extensive and vigorous.

I took a step or two out from under the shadow of the house so that I could see around me in the moonlight. Monk’s Piece stands at the summit of land that rises gently up for some four hundred feet from where the little River Nee traces its winding way in a north to south direction across this fertile, and sheltered, part of the country. Below us are pastures, interspersed with small clumps of mixed, broadleaf woodland. But at our backs for several square miles it is a quite different area of rough scrub and heathland, a patch of wildness in the midst of well-farmed country. We are but two miles from a good-sized village, seven from the principal market town, yet there is an air of remoteness and isolation which makes us feel ourselves to be much further from civilization.

I first saw Monk’s Piece one afternoon in high summer, when out driving in the trap with Mr. Bentley. Mr. Bentley was formerly my employer, but I had lately risen to become a full partner in the firm of lawyers to which I had been articled as a young man (and with whom, indeed, I remained for my entire working life). He was at this time nearing the age when he had begun to feel inclined to let slip the reins of responsibility, little by little, from his own hands into mine, though he continued to travel up to our chambers in London at least once a week, until he died in his eighty-second year. But he was becoming more and more of a country-dweller. He was no man for shooting and fishing but, instead, he had immersed himself in the roles of country magistrate and churchwarden, governor of this, that and the other county and parish board, body and committee. I had been both relieved and pleased when finally he took me into full partnership with himself, after so many years, while at the same time believing the position to be no more than my due, for I had done my fair share of the donkey work and borne a good deal of the burden of responsibility for directing the fortunes of the firm with, I felt, inadequate reward—at least in terms of position.

So it came about that I was sitting beside Mr. Bentley on a Sunday afternoon, enjoying the view over the high hawthorn hedgerows across the green, drowsy countryside, as he let his pony take the road back, at a gentle pace, to his somewhat ugly and over-imposing manor house. It was rare for me to sit back and do nothing. In London I lived for my work, apart from some spare time spent in the study and collecting of watercolors. I was then thirty-five and I had been a widower for the past twelve years. I had no taste at all for social life and, although in good general health, was prone to occasional nervous illnesses and conditions, as a result of the experiences I will come to relate. Truth to tell, I was growing old well before my time, a somber, pale-complexioned man with a strained expression—a dull dog.

I remarked to Mr. Bentley on the calm and sweetness of the day, and after a sideways glance in my direction he said, “You should think of getting yourself something in this direction—why not? Pretty little cottage—down there, perhaps?” And he pointed with his whip to where a tiny hamlet was tucked snugly into a bend of the river below, white walls basking in the afternoon sunshine. “Bring yourself out of town some of these Friday afternoons, take to walking, fill yourself up with fresh air and good eggs and cream.”

The idea had a charm, but only a distant one, seemingly unrelated to myself, and so I merely smiled and breathed in the warm scents of the grasses and the field flowers and watched the dust kicked up off the lane by the pony’s hooves and thought no more about it. Until, that is, we reached a stretch of road leading past a long, perfectly proportioned stone house, set on a rise above a sweeping view down over the whole river valley and then for miles away to the violet-blue line of hills in the distance.

At that moment, I was seized by something I cannot precisely describe, an emotion, a desire—no, it was rather more, a knowledge, a simple certainty, which gripped me, and all so clear and striking that I cried out involuntarily for Mr. Bentley to stop, and, almost before he had time to do so, climbed out of the pony trap into the lane and stood on a grassy knoll, gazing first up at the house, so handsome, so utterly right for the position it occupied, a modest house and yet sure of itself, and then looking across at the country beyond. I had no sense of having been here before, but an absolute conviction that I would come here again, that the house was already mine, bound to me invisibly.

To one side of it, a stream ran between the banks toward the meadow beyond, whence it made its meandering way down to the river.

Mr. Bentley was now looking at me curiously, from the trap. “A fine place,” he called.

I nodded, but, quite unable to impart to him any of my extreme emotions, turned my back upon him and walked a few yards up the slope from where I could see the entrance to the old, overgrown orchard that lay behind the house and petered out in long grass and tangled thicket at the far end. Beyond that, I glimpsed the perimeter of some rough-looking, open land. The feeling of conviction I have described was still upon me, and I remember that I was alarmed by it, for I had never been an imaginative or fanciful man and certainly not one given to visions of the future. Indeed, since those earlier experiences I had deliberately avoided all contemplation of any remotely nonmaterial matters, and clung to the prosaic, the visible and tangible.

Nevertheless, I was quite unable to escape the belief—nay, I must call it more, the certain knowledge—that this house was one day to be my own home, that sooner or later, though I had no idea when, I would become the owner of it. When finally I accepted and admitted this to myself, I felt on that instant a profound sense of peace and contentment settle upon me such as I had not known for very many years, and it was with a light heart that I returned to the pony trap, where Mr. Bentley was awaiting me more than a little curiously.

The overwhelming feeling I had experienced at Monk’s Piece remained with me, albeit not in the forefront of my mind, when I left the country that afternoon to return to London. I had told Mr. Bentley that if ever he were to hear that the house was for sale, I should be eager to know of it.

Some years later, he did so. I contacted the agents that same day and hours later, without so much as returning to see it again, I had offered for it, and my offer was accepted. A few months prior to this, I had met Esmé Ainley. Our affection for one another had been increasing steadily, but, cursed as I still was by my indecisive nature in all personal and emotional matters, I had remained silent as to my intentions for the future. I had enough sense to take the news about Monk’s Piece as a good omen, however, and a week after I had formally become the owner of the house, traveled into the country with Esmé and proposed marriage to her among the trees of the old orchard. This offer, too, was accepted and very shortly afterward we were married and moved at once to Monk’s Piece. On that day, I truly believed that I had at last come out from under the long shadow cast by the events of the past and saw from his face and felt from the warmth of his handclasp that Mr. Bentley believed it too, and that a burden had been lifted from his own shoulders. He had always blamed himself, at least in part, for what had happened to me—it had, after all, been he who had sent me on that first journey up to Crythin Gifford, and Eel Marsh House, and to the funeral of Mrs. Drablow.

But all of that could not have been further from my conscious thought at least, as I stood taking in the night air at the door of my house, on that Christmas Eve. For some fourteen years now Monk’s Piece had been the happiest of homes—Esmé’s and mine, and that of her four children by her first marriage, to Captain Ainley. In the early days I had come here only at weekends and holidays but London life and business began to irk me from the day I bought the place and I was glad indeed to retire permanently into the country at the earliest opportunity.

And, now, it was to this happy home that my family had once again repaired for Christmas. In a moment, I should open the front door and hear the sound of their voices from the drawing room—unless I was abruptly summoned by my wife, fussing about my catching a chill. Certainly, it was very cold and clear at last. The sky was pricked over with stars and the full moon rimmed with a halo of frost. The dampness and fogs of the past week had stolen away like thieves into the night, the paths and the stone walls of the house gleamed palely and my breath smoked on the air.

Upstairs, in the attic bedrooms, Isobel’s three young sons—Esmé’s grandsons—slept, with stockings tied to their bedposts. There would be no snow for them on the morrow, but Christmas Day would at least wear a bright and cheerful countenance.

There was something in the air that night, something, I suppose, remembered from my own childhood, together with an infection caught from the little boys, that excited me, old as I was. That my peace of mind was about to be disturbed, and memories awakened that I had thought forever dead, I had, naturally, no idea. That I should ever again renew my close acquaintance, if only in the course of vivid recollections and dreams, with mortal dread and terror of spirit, would have seemed at that moment impossible.

I took one last look at the frosty darkness, sighed contentedly, called to the dogs, and went in, anticipating nothing more than a pipe and a glass of good malt whisky beside the crackling fire, in the happy company of my family. As I crossed the hall and entered the drawing room, I felt an uprush of well-being, of the kind I have experienced regularly during my life at Monk’s Piece, a sensation that leads on naturally to another, of heartfelt thankfulness. And indeed I did give thanks, at the sight of my family ensconced around the huge fire which Oliver was at that moment building to a perilous height and a fierce blaze with the addition of a further great branch of applewood from an old tree we had felled in the orchard the previous autumn. Oliver is the eldest of Esmé’s sons, and bore then, as now, a close resemblance both to his sister Isobel (seated beside her husband, the bearded Aubrey Pearce) and to the brother next in age, Will. All three of them have good, plain, open English faces, inclined to roundness and with hair and eyebrows and lashes of a light chestnut brown—the color of their mother’s hair before it became threaded with gray.

At that time, Isobel was only twenty-four years old but already the mother of three young sons, and set fair to produce more. She had the plump, settled air of a matron and an inclination to mother and oversee her husband and brothers as well as her own children. She had been the most sensible, responsible of daughters, she was affectionate and charming, and she seemed to have found, in the calm and level-headed Aubrey Pearce, an ideal partner. Yet at times I caught Esmé looking at her wistfully, and she had more than once voiced, though gently and to me alone, a longing for Isobel to be a little less staid, a little more spirited, even frivolous.

In all honesty, I could not have wished it so. I would not have wished for anything to ruffle the surface of that calm, untroubled sea.

Continues...

Excerpted from The Woman in Black by Susan Hill Copyright © 2011 by Susan Hill. Excerpted by permission of Vintage, a division of Random House, Inc.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Reading Group Guide

1. The novel opens with a detailed description of happy family life and builds to a ghastly climax. How does the author create the continual suspense to bring things to their terrifying conclusion?

2. The novel’s narrator, Arthur Kipps, seems a straightforward character and surprisingly level-headed through the extraordinary drama of the novel. Do you as a reader trust the narrator more because of this? How does this calmness contribute to the effect of the more chilling and supernatural events later in the book?

3. The description of the woman in black is a gradual unveiling throughout the novel. How effective is this style of description? How do details, such as the cloak or hints of disease, contribute to our growing impression of her?

4. The author has chosen a woman as the central ghost figure — how is the concept of gender handled in the novel?

5. The story is set very firmly in Victorian times, with clear descriptions of daily life at that time. How does the historical setting add to the horror? Would a ‘modern’ version of The Woman in Black be as frightening?

6. The Woman in Black is a modern ghost story not only in the strength of its writing, but also in its use of the conventions in this genre of writing. How does the author use these conventions to effect, and how does the novel compare to other ghost stories, not only in books but in film as well?

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The Woman in Black: A Ghost Story

Overview

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Available on NOOK devices and apps Nook Devices NOOK HD/HD+ Tablet NOOK NOOK Color NOOK Tablet Tablet/Phone NOOK for Windows 8 Tablet NOOK for iOS NOOK for Android NOOK Kids for iPad PC/Mac NOOK for Windows 8 NOOK for PC NOOK for Mac NOOK Study NOOK for Web

All Available Formats & Editions

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The Woman in Black

Vintage

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Wonderful!

great

Good Ghost Story

great

Spine chilling

Good Read

Scary Stuff!

Omg

Better than the movie

Pretty good

A bit slow....

:-) Good!

Packs a punch

A very interesting book.

Amazing

Spooky Good!

Boring

Scary!

Best ghost story I have ever read! You will not be disappointed if you like gothic atmosphere.

A terrifying, must-read ghost story.

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