Wall of Eyes

In this remarkable novel, Margaret Millar returns to the themes of death and terror which first made her reputation as a writer. It concerns a New York family who rented a house on the California coast in the hope of a tranquil summer. Mark Banner was a young, successful publisher. His wife. Evelyn. was bright and competent, and very much afraid of losing her husband. When Janet Wakefield returned from her travels to take inventory in the house she had rented to the Banners, Evelyn recognized an enemy at sight. The covert struggle between the two women for the possession of Evelyn’s husband, and her daughter, Jessie, gradually became a fight to the death.

The story covers only three days, but it has the compactness of an ancient tragedy. It strikes deep into the life of its characters, and into the past which had changed a strong and beautiful woman to a figure of frightening evil. Much of it is seen through the eyes of the child. Jessie, who is Mrs. Wakefield’s first convert and her final victim. The dark relation between the imaginative eight-year-old and the desperate woman mounts gradually toward a peak of intensity. But at the end the terror is subtly changed to pity. Mrs. Wakefield is not a villainess of melodrama, but a woman whom we pity because we understand her.

Margaret Millar’s new novel is daring, deeply disturbing, yet marked by unusual beauty. Its love passages between Mark Banner and Janet Wakefield are real and moving.

In this book Margaret Millar returns to the wry mixture of imaginative farce and queasy horror which first won the hearts of mystery fans. It has a firm, fast plot and a rich variety of characters that are as real as they are amusing.

They are presented first through the eyes of Isobel Seton, a candid and witty New Yorker who has bought skis and is riding on Sno-bus to a Sno-lodge in the wilds of Quebec in the middle of a snowstorm. Other passengers include a burlesque artist, a refugee English poet whose genius is to madness near allied, an aging divorcee who acts as his patroness, a handsome young couple who are reveling masochistically in a frustrated honeymoon, a married pair who wish somebody had frustrated their honeymoon, a precocious sophomore who is making an avocation of protecting her mild and mannerly father against the perils of sex, and a handsome young-old man who says he’s so wicked that nobody believes him until he proves it.

There’s a bus-driver, too, who stops the car in the middle of nowhere, walks away into the blizzard and doesn’t come back. The account of what happens to the stranded ski-party in that decayed wilderness chateau during the mad night that follows will provide mystery fans with the kind of evening that they are fanatical about. There is Miss Rudd, the elderly owner of the place, playfully free with the shears, the bus-driver’s coat discovered under the coal, the grizzly discovery in the snowbound front yard along toward morning, and other more hair-raising adventures as the tempo rises. This is the swiftest and most entertaining of Mrs. Millar’s contributions to hairbreadth-escape literature.