Harriet Klausner's Review Archive
In Walden Manor, Jean accidentally shatters a teapot containing a set of keys that enable the lonely woman to open the upstairs lock rooms and her imagination as a resident of Walden Manor. She creates a grown son that years before she was forced to give up for adoption and advertises in a magazine pleading for his return. Con artist Michael responds accompanied by a pregnant woman, Steph, whom he just met as she flees from her abusive boyfriend. The trio forges a happy home though the end state countdown begins when Stephs baby is born but inexplicably dies and a country curate who is visiting recognizes Michael as a thief.
Even without Sara Selkirk appearing, Morag Joss is a brilliant virtuoso playing a dark concerto that grips the audience as few novels can. The lead trio is damaged goods that society ignores; each finds solace in the loving family unit they form together leading to the audience to wonder how far any one of them or as a mob will go to protect what they now believe is theirs. Though British, fans of deep family dramas will appreciate this gritty thriller that recolor values from red to blue.