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The Glass of Time

The Glass of Time

by Michael Cox


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Building on his haunting, superbly written debut, The Meaning of Night, Michael Cox returns to a story of murder, love, and revenge in Victorian England. The Glass of Time is a vividly imagined study of seduction, betrayal, and friendship between two powerful women bound together by the past.

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Product Details

ISBN-13: 9780393337167
Publisher: Norton, W. W. & Company, Inc.
Publication date: 10/05/2009
Pages: 592
Sales rank: 502,951
Product dimensions: 5.40(w) x 8.20(h) x 1.10(d)

About the Author

Michael Cox (1948-2009) was the biographer of the ghost-story writer and scholar M. R. James. His first novel, The Meaning of Night, was shortlisted for the 2007 Costa First Novel Award.

Read an Excerpt

Act One
A House of Secrets

I wish you, first of all, to imagine that you are standing beside me, peeping over the rail of an arched and curtained gallery, set — like the stage of some aerial theatre — high above a long and imposing room. From our vantage point, if we push our noses out just a very little way through the narrow gap in the curtains, we may see down to where the assembled company of fine ladies and gentlemen are sitting at table. The thick velvet curtains smell of time and dust, but do not mind them. We shall not be here long.

The room below us, decorated in crimson and gold, is richly furnished and, though grandly proportioned, deliciously warm, even on this chill November evening, from the heat thrown out from blazing piles of pine logs in the two great stone fire-places.

. . . .

We now come to the three members of this evening’s party in which I — and you — have a particular interest: the permanent residents of this great house.

First, of course, my Lady — the former Miss Emily Carteret, now the 26th Baroness Tansor.

Look at her. She sits at the head of the board, as a queen ought, in black and shimmering silver silk. Who can deny that she is beautiful still, or that her fifty-two years have been uncommonly kind to her? In the candlelight below us, fluttering shadows play delightfully across her pale skin (she never allows the gas to be lit: candlelight is so much more flattering).

She captivates and charms the men gathered in her Crimson-and-Gold Dining-Room. See how they ogle her when they think no one else is looking! Mr FitzMaurice, Dr Pordage, even red-faced Sir Lionel Voysey (always comically maladroit in her presence): they all fall under her spell like silly boys, and see her only as she wishes to be seen.

Naturally, her famously tragical past — a father murdered, and the great love of her life slain a month before their marriage — only increases her allure. Men, I think, are such fools, at least men such as these. If she has suffered, well, there is suffering enough in the world, and we shall each have our share before we are released.
Yet she has been richly compensated for her suffering, which is by no means the least of her attractions, especially to her bachelor admirers. Beautiful, romantically scarred by tragedy, the possessor of an immense fortune and an ancient title — and now a widow!

. . . .

The truth is that she will never marry again, and certainly not a prize fool like Mr Maurice FitzMaurice.

Marriage would bring her no material advantage. Nor will she succumb to Love again, for her heart is shut fast against all further assault from that quarter. No man can ever displace the memory of her first and last love, whose terrible death is the great affliction of her life, greater even than the murder of her father. Her late husband, Colonel Zaluski, could not do it — that at least is the common opinion. I never met the gentleman; but Sukie Prout (my great friend below stairs) says that the two of them rubbed along well enough, and that the Colonel had a smiling, accommodating way about him that made you instantly like him. I must suppose, therefore, that his wife liked him too, and that this was enough for her.

The fruits of this unremarkable union are now sitting on either side of their mother: Mr Perseus Duport, the heir to her title and fortune, on her right hand, his younger brother, Mr Randolph Duport, on her left. But they are not at all unremarkable.

Mr Perseus — who has just raised a toast to gallant Lord Edward Duport — will shortly attain his majority, and is very like his mother in appearance: tall, deliberate in movement, watchful in attitude, and with the same fathomless eyes. His hair — as dark as those eyes — is worn long, so that it falls about his shoulders in a consciously romantic way, as befits the poet he aspires to be. He is very proud of his hair, a trait that he also gets from his mother. A most handsome young gentleman, undoubtedly, made more so by a carefully tended black beard, which gives him a dangerously heroic look, exactly like the portrait of the Turkish Corsair that hangs at the foot of the vestibule stairs, and for which, on first seeing it, I thought he must have sat, had it not been painted over twenty years since.

His younger brother, Mr Randolph Duport, is nearly twenty, and is no less striking than his brother, though very differently composed. He is shorter and stockier, stronger in limb, with warm brown eyes (Sukie says they are the spit of his late father’s), a rosy, outdoors colouring, and unruly brown hair. There is not the least resemblance to his mother; nor is there any discernible trace of her temperament in him, which makes people like him far more than Mr Perseus. Unlike his brother, he has none of Lady Tansor’s haughtiness and pride. He is, by contrast, a singularly unaffected and spontaneous soul, appearing to take things as they come, and (so goes the general opinion) hardly ever thinking of consequences, for which I am told he has often felt the sting of his mother’s displeasure. Yet, possessing the uncommon ability to acknowledge his faults, which Mr Perseus appears to lack, he is said never to complain, but promises to apply himself more soberly in the future to the art of properly considering matters.

. . . .

These three persons have become the principal and constant objects of my attention in this house, to which I have been sent for reasons that — at the time of which I am writing — have not been fully revealed to me. Thus I continue to wait, and watch, as I have been instructed to do.

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