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Whispers and Lies

by (author) Joy Fielding

Publisher
Doubleday Canada
Initial publish date
Jul 2003
Category
General
  • Paperback / softback

    ISBN
    9780770429195
    Publish Date
    Jul 2003
    List Price
    $10.99

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Description

A suspenseful tale of a woman who rents out the small cottage behind her house to a mysterious young stranger, Joy Fielding’s latest novel is about trusting and not trusting one’s instincts. A New York Times best-selling author, Fielding has a well-deserved reputation as a writer who knows how to get the reader hooked. From the first page, you can’t put it down.

In the same way, Terry Painter is hooked from the very first meeting with her prospective new tenant. Forty and single, Terry has a quiet and ordered life in picturesque Delray, Florida. A nurse at Mission Care private hospital for the elderly and disabled, loved by her patients for her kindness and thoughtfulness, she lives alone in the comfortable house she inherited from her mother five years ago, and rents out the cottage behind it. Alison Simms spots the rental notice posted in the hospital, and blows into Terry’s life like a tropical storm. In her twenties, tall and slim, full of open charm and infectiously enthusiastic, Alison is impossible not to like. “It would be nice having someone around who made me laugh,” thinks Terry.

Alison loves the cottage, right down to the colour combination, and moves in immediately. Terry, usually responsible and pragmatic, surprises herself for failing even to ask for references, but she is drawn instinctively to Alison, and realises she wants her to stay. Alison fills a gap in her life, bringing friendship and warmth. With her sweet tooth and ravenous appetite, the young woman gratefully devours Terry’s home cooking and buys her generous gifts. She even gives her a makeover and a flattering new haircut, helping Terry charm the handsome son of one of her dear, ailing patients. Alison, full of life, brightens the days that are usually spent caring for the old and the sick. Despite the difference in their ages, the two women are comfortable together; it feels like they’ve been friends forever.

Yet almost simultaneously, Terry begins to have suspicions about Alison. How much does she know about her, really? Alison has some strange habits and stranger friends. She has a limitless supply of cash in her purse, and knows the house so well it’s as if she’s been in it before. Her reasons for coming to Delray don’t quite add up, and she won’t talk about her parents: “We weren’t on the best of terms.” Moreover, Terry notices a shadowy figure lurking around her house, and starts to receive disturbing phone calls. Snippets of overheard conversation, surreptitious glances in Alison’s diary, and her mother’s nagging voice in her head make Terry paranoid that her tenant may want to do her harm.

Should Terry have been more suspicious, or at least wary, especially after the experience with her last tenant? And yet, as Alison says of the neighbour’s pet dogs, “How could anything that sweet be destructive?” And who is hiding more, Alison -- or Terry?

Diving deeply into the psyches of her most captivating characters to date, Joy Fielding has created a riveting tale that challenges our most basic assumptions regarding love, friendship, and obsession. It leaves the reader guessing at where the truth really lies until the final shocking twist that Publishers Weekly has called “an ending worthy of Hitchcock”. Fielding delivers an intelligent, tight plot full of psychological complexity, without sacrificing the simple prose and page-turning suspense she is known for around the world.

From the Hardcover edition.

About the author

Contributor Notes

“I love hearing that someone stayed up all night to finish one of my books.”

Now a New York Times best-selling author of popular psychological novels, Joy was eight years old when she sent her first story to a magazine. She wrote plays that she and her friends performed for their parents during summer vacation at the cottage. “As a child, I played with cut-out dolls until I was fourteen years old, long past the age when my friends still played with them. I made up elaborate stories with my paper dolls, letting my imagination run wild.” In her last year of high school, her English teacher announced to the class that she was going to be a writer. She loved writing and was a good student. Her mother told her there was nothing she couldn’t do well if she really wanted to do it.

At the University of Toronto, however, she decided she wanted to be an actress. She performed in campus productions and starred in the student movie Winter Kept Us Warm. When she graduated in 1966 with a BA in English Literature, she went into acting full-time, played the lead in CFTO’s Rumble of Silence and appeared in Twelfth Night at Stratford; she moved to Los Angeles and landed a role in an episode of Gunsmoke. She also travelled to Las Vegas where she got to kiss Elvis Presley. She stayed there almost three years, acting, working in banks and starting a novel; but eventually returned to Toronto and her first love, writing. The acting background enriches her novels. “I approach the heroines as if I were a Method actress.” Her theatre training taught her to see scenes, build structure, and “go for the drama”.

Her first novel, The Best of Friends, was written at her parent’s kitchen table within the first five weeks of returning to Toronto. Publishers in both Canada and the U.S. saw potential, and it was published in 1972. Less than ten years and several novels later, Kiss Mommy Goodbye, called a ‘knockout’ by the New York Times, was published all over the world. In 1995, her novel See Jane Run was adapted into a television movie and sold 1.5 million copies in Germany alone. With the publication of The First Time, a love story, and Grand Avenue, which follows the lives of four women over the course of twenty years, she allowed herself the luxury of focusing more on how human relationships develop over time. In thirty years, she has published fifteen novels and her growing and dedicated readership eagerly anticipate each new book.

She still lives in Toronto but has a house in Palm Beach, where she spends as much time as possible. “I think I have a fairly American sensibility, although this is very much tempered by my Canadian upbringing.” She works on her golf handicap, plays bridge, and travels when she has time. She has been married for 28 years and has two daughters, one an actress and the other working behind-the-scenes in film.

She usually writes for four hours each day, after letting ideas percolate in her subconscious for a while. She starts with the characters and a theme, then writes an outline; halfway through, the book usually has its own momentum, although there can be surprises, such as when a minor character ends up having a key role in the book. “That’s always part of the fun: being surprised.” Readers find it easy to relate to and identify with her characters, so developing their background, why they act the way they do, is the most important thing. In spite of their different situations, she tries to put herself into their shoes and thus sees a lot of herself in her main characters.

Fielding’s terrain as a writer is the day-to-day problems facing modern women. Often, her characters are forced to face their worst nightmares, when sudden discoveries change their seemingly untroubled lives. In the suspenseful Don’t Cry Now, a woman with a rewarding job, happy marriage, and large suburban home finds her secure world crashing around her when her three-year-old daughter’s safety is threatened. A destructive ex-husband leaves a woman in terror when he kidnaps their children in Kiss Mommy Goodbye. Seemingly fragile heroines face the challenge of a lifetime, and often fight back ferociously.

Although her primary concern is telling a good story, she consciously tries to raise awareness of issues that affect women’s lives, such as domestic violence and sexual harassment, disease and infidelity. “Occasionally, I get letters from professional social workers and doctors, telling me that they’ve used or recommended my books to their patients.” Showing how a character deals with a situation is often more effective than giving people advice on things they’re afraid to confront. As a popular author she would like to help show people why they do things, understand each other’s fears, and become more compassionate.

She is also committed to creating more believable female characters in commercial fiction. “I think I’m successful at depicting real women because I understand women, mostly because I understand myself quite well… You can tell a pretty fantastic tale, but if you populate it with real people feeling real emotions, your readers will follow you anywhere.” She appeals to people of all ages from teenagers up, and though set mostly in American cities, her books are sold in more than twenty languages all over the world. “It strikes me increasingly that as long as one is writing about the basic human emotions we all share, then it doesn’t really matter where one is from.” Although most of her readers are women, she recommends her books to men -- especially if they want to understand what women want.

Publishers Weekly has regularly called her books perceptive and affecting. Deftly written, chilling, they are also impossible to put down. She keeps the action moving and the pages turning with intelligent dialogue and convincing characters. As the New York Times said, “Once you’ve got into it, there’s no escaping”.

From the Hardcover edition.

Excerpt: Whispers and Lies (by (author) Joy Fielding)

Chapter 1

She said her name was Alison Simms.

The name tumbled slowly, almost languorously, from her lips, the way honey slides from the blade of a knife. Her voice was soft, tentative, slightly girlish, although her handshake was firm and she looked me straight in the eye. I liked that. I liked her, I decided, almost on the spot, although I'm the first to admit that I'm not always the best judge of character. Still, my first impression of the amazingly tall young woman with the shoulder-length, strawberry-blond curls who stood tightly clasping my hand in the living room of my small two-bedroom home was positive. And first impressions are lasting impressions, as my mother used to say.

"This is a real pretty house," Alison said, her head nodding up and down, as if agreeing with her own assessment, her eyes darting appreciatively between the overstuffed sofa and the two delicate Queen Anne chairs, the cushioned valances framing the windows and the sculpted area rug lying across the light hardwood floor. "I love pink and mauve together. It's my favourite color combination." Then she smiled, this enormous, wide, slightly goofy smile that made me want to smile right back. "I always wanted a pink and mauve wedding."

I had to laugh. It seemed such a wonderfully strange thing to say to someone you'd just met. She laughed with me, and I motioned toward the sofa for her to sit down. She immediately sank into the deep, down-filled cushions, her blue sundress all but disappearing inside the swirl of pink and mauve fabric flowers, and crossed one long, skinny leg over the other, the rest of her body folding itself artfully around her knees as she leaned toward me. I perched on the edge of the striped Queen Anne chair directly across from her, thinking that she reminded me of a pretty pink flamingo, a real one, not one of those awful plastic things you see stabbed into people's front lawns. "You're very tall," I commented lamely, thinking she'd probably heard that remark all her life.

"Five feet ten inches," she acknowledged graciously. "I look taller."

"Yes, you do," I agreed, although at barely five feet four inches, everyone looks tall to me. "Do you mind my asking how old you are?"

"Twenty-eight." A slight blush suddenly scraped her cheeks. "I look younger."

"Yes, you do," I said again. "You're lucky. I've always looked my age."

"How old are you? That is, if you don't mind..."

"Take a guess."

The sudden intensity of her gaze caught me off-guard. She scrutinized me as if I were an exotic specimen in a lab, trapped between two tiny pieces of glass, under an invisible microscope. Her clear green eyes burrowed into my tired brown ones, then moved across my face, examining each telltale line, weighing the evidence of my years. I have few illusions. I saw myself exactly the way I knew she must: a reasonably attractive woman with good cheekbones, large breasts, and a bad haircut.

"I don't know," she said. "Forty?"

"Exactly." I laughed. "Told you."

We fell silent, frozen in the warmth of the afternoon sun that surrounded us like a spotlight, highlighting small flecks of dust that danced in the air between us, like hundreds of tiny insects. She smiled, folded her hands together in her lap, the fingers of one hand playing carelessly with the fingers of the other. She wore no rings of any kind, and no polish, although her nails were long and cared-for. I could tell she was nervous. She wanted me to like her.

"Did you have any trouble finding the house?"

"No. Your directions were great: east on Atlantic, south on Seventh Avenue, past the white church, between Second and Third Street. No problem at all. Except for the traffic. I didn't realize that Delray was such a busy place."

"Well, it's November," I reminded her. "The snowbirds are starting to arrive."

"Snowbirds?"

"Tourists," I explained. "You're obviously new to Florida."

She looked toward her sandaled feet. "I like this rug. You're very brave to have a white carpet in the living room."

"Not really. I don't do much entertaining."

"I guess your job keeps you pretty busy. I always thought it would be so great to be a nurse," she offered. "It must be very rewarding."

I laughed. "Rewarding is not exactly the word I would use."

"What word would you use?"

She seemed so genuinely curious, something I found both refreshing and endearing. It had been so long since anyone had expressed any real interest in me that I guess I was flattered. But there was also something so touchingly naive about the question that I wanted to cross over to where she sat and hug her, as a mother hugs her child, and tell her that it was all right, she didn't have to work so hard, that the tiny cottage behind my house was hers to occupy, that the decision had been made the minute she walked through my front door.

"What word would I use to describe the nursing profession?" I repeated, mulling over several possibilities. "Exhausting," I said finally. "Exacting. Infuriating."

"Good words."

I laughed again, as I seemed to have done often in the short amount of time she'd been in my home. It would be nice having someone around who made me laugh, I remember thinking. "What sort of work do you do?" I asked.

Alison stood up, walked to the window, and stared out at the wide street, lined with several varieties of shady palms. Bettye McCoy, third wife of Richard McCoy, and some thirty years his junior, not an unusual occurrence in South Florida, was being pulled along the sidewalk by her two small white dogs. She was dressed from head to toe in beige Armani, and in her free hand she carried a small white plastic bag full of dog poop, a fashion irony seemingly lost on the third Mrs. McCoy. "Oh, would you just look at that. Aren't they just the sweetest things? What are they, poodles?"

"Bichons," I said, coming up beside her, the top of my head in line with the bottom of her chin. "The bimbos of the canine world."

It was Alison's turn to laugh. The sound filled the room, danced between us, like the flecks of dust in the afternoon sun. "They sure are cute though. Don't you think?"

"Cute is not exactly the word I would use," I told her, consciously echoing my earlier remark.

She smiled conspiratorially. "What word would you use?"

"Let me see," I said, warming to the game. "Yappy. Pesky. Destructive."

"Destructive? How could anything that sweet be destructive?"

"One of her dogs got into my garden a few months back, dug up all my hibiscus. Trust me, it was neither sweet nor cute." I backed away from the window, catching sight, as I did so, of a man's silhouette among the many outside shadows on the opposite corner of the st reet. "Is someone waiting for you?"

"For me? No. Why?"

I edged forward to have a better look, but the man, if he'd existed at all, had taken his shadow and disappeared. I looked down the street, but there was no one there.

"I thought I saw someone standing under that tree over there." I pointed with my chin.

"I don't see anyone."

"Well, I'm sure it was nothing. Would you like some coffee?"

"I'd love some." She followed me through the small dining area that stood perpendicular to the living room, and into the predominantly white kitchen at the back of the house. "Oh, would you just look at these," she exclaimed with obvious delight, gliding toward the rows of shelves that lined the wall beside the small breakfast nook, her arms extended, fingers fluttering eagerly in the air. "What are these? Where did you get them?"

My eyes quickly scanned the sixty-five china heads that gazed at us from five rows of wooden shelves. "They're called 'ladies' head vases,'" I explained. "My mother used to collect them. They're from the fifties, mostly made in Japan. They have holes in the tops of their heads, for flowers, I guess, although they don't hold a lot. When they first came out, they were worth maybe a couple of dollars."

"And now?"

"Apparently they're quite valuable. Collectibles, I believe, is the word they use."

"And what word would you use?" She waited eagerly, a mischievous smile twisting her full lips this way and that.

I didn't have to think very hard. "Junk," I said concisely.

"I think they're great," she protested. "Just look at the eyelashes on this one. Oh, and the earrings on this one. And the tiny string of pearls. Oh, and look at this one. Don't you just love the expression on her face?" She lifted one of the heads gingerly into her hands. The china figurine was about six inches tall, with arched painted eyebrows and pursed read lips, her light brown curls peeking out from under a pink and white turban, a pink rose at her throat. "She's not as ornate as some of the others, but she has such a superior look about her, you know, like some snooty society matron, looking down her nose at the rest of us."

"Actually, she looks like my mother," I said.

The china head almost slipped through Alison's fingers. "Oh my God, I'm so sorry." She quickly returned the head vase to its original position on the shelf, between two doe-eyed girls with ribbons in their hair. "I didn't mean..."

I laughed. "It's interesting you picked that one. It was her favorite. What do you take in your coffee?"

"Cream, three sugars?" she asked, as if she weren't sure, her eyes still on the china heads.

I poured us each a mug of coffee I'd been brewing since she'd phoned from the hospital, said she'd seen my notice posted to the bulletin board at one of the nurses' stations, and could she come over as soon as possible.

"Does your mother still collect?"

"She died five years ago."

"I'm so sorry."

"Me too. I miss her. It's why I haven't been able to sell off any of her friends. How about a piece of cranberry-and-pumpkin cake?" I asked, changing the subject for fear of getting maudlin. "I just made it this morning."

"You can bake? Now I'm really impressed. I'm absolutely hopeless in the kitchen."

"Your mother never taught you to cook?"

"We weren't on the best of terms." Alison smiled, although unlike her other smiles, this one seemed more forced than genuine. "Anyway, I'd love a piece of cake. Cranberries are one of my very favorite things in the whole world."

Again, I laughed. "I don't think I've ever met anyone who felt so passionately about cranberries. Could you hand me a knife?" I motioned toward a group of knives slid into the artfully arranged slots of a triangular chunk of wood that sat on the far end of the white tile countertop. Alison pulled out the top one, a foot-long monster with a tapered two-inch blade. "Whoa," I said. "Overkill, don't you think?"

She turned the knife over slowly in her hand, studying her reflection in the well-sharpened blade, gingerly running her finger along its side, temporarily lost in thought. Then she caught me looking at her and quickly replaced the knife with one of the smaller ones, watching intently as the knife sliced effortlessly through the large Bundt cake. Then it was my turn to watch as she wolfed it down, complimenting me all the while on its texture, its lightness, its taste. She finished it quickly, her entire focus on what she was doing, like a child.

Maybe I should have been more suspicious, or at the very least, more wary, especially after the experience with my last tenant. But likely it was precisely that experience that made me so susceptible to Alison's girlish charm. I wanted, really wanted, to believe she was exactly as she presented herself: a somewhat naive, lovely, sweet young woman.

Sweet, I think now.

Sweet is not exactly the word I would use.

How could anything that sweet be destructive? she'd asked.

Why wasn't I listening?

"You've obviously never had a problem with your weight," I observed as her fingers pressed down on several errant crumbs scattered across her plate before lifting them to her mouth.

"If anything, I have trouble keeping pounds on," she said. "I was always teased about it. Kids used to say things like, 'Skinny Minny, she grows like a weed.' And I was the last girl in my class to get boobs, such as they are, so I took a lot of flak for that. Now suddenly everybody wants to be thin, only I'm still catching flak. People accuse me of being anorexic. You should hear the things they say."

"People can be very insensitive," I agreed. "Where'd you go to school?"

"Nowhere special. I wasn't a very good student. I dropped out of college in my first year."

"To do what?"

"Let's see. I worked in a bank for a while, sold men's socks, was a hostess in a restaurant, a receptionist in a hair salon. Stuff like that. I never have any trouble finding a job. Do you think I could have some more coffee?"

I poured her a second cup, again adding cream and three heaping teaspoons of sugar. "Would you like to see the cottage?"

Instantly, she was on her feet, downing the coffee in one seamless gulp, wiping her lips with the back of her hand. "Can't wait. I just know it's going to be beautiful." She followed me to the back door, an eager puppy nipping at my heels. "Your notice said six hundred a month, right?"

"Will that be a problem? I require first and last month's rent up front."

"No problem. I intend to start looking for a job as soon as I get settled, and even if I don't find something right away, my grandmother left me some money when she died, so I'm actually in pretty good shape. Financially speaking," she added softly, strawberry-blond hair curling softly around the long oval of her face.

I had hair like that once, I thought, tucking several wayward waves of auburn hair behind one ear. "My last tenant was several months behind in her rent when she took off, that's why I have to ask..."

"Oh, I understand completely"

We crossed the small patch of lawn that separated the tiny cottage from the main house. I fished inside my jean pocket for the key to the front door, the heat of her gaze on my back rendering me unusually clumsy, so that the key fell from my hand and bounced on the grass. Alison immediately bent to pick it up, her fingers grazing mine as she returned it to the palm of my hand. I pushed open the cottage door and stood back to let her come inside.

A long sigh escaped her full lips. "It's even more beautiful than I thought it was going to be. It's like... magic." Alison danced around the tiny room in small, graceful circles, head arched back, arms outstretched, as if she could somehow capture the magic, draw it to her. She doesn't realize she is the magic, I thought, suddenly aware of how much I'd wanted her to like it, how much I wanted her to stay. "I'm so glad you kept the same color as the main house," she was saying, briefly alighting, like a butterfly, on the small love seat, the large chair, the bentwood rocker in the corner. She admired the rug - mauve and white flowers woven into a pale pink backround - and the framed prints on the wall - a group of Degas dancers preening backstage before a recital, Monet's cathedral at sunset, Mary Cassatt's loving portrait of a mother and her child.

"The other rooms are back here." I opened the double set of French doors to reveal a tidy arrangement of galley kitchen, bathroom, and bedroom.

"It's perfect. It's absolutely perfect." She bounced up and down on the double bed, running eager palms across the antique white bedspread, before catching her reflection in the mirror above the white wicker dresser and instantly assuming a more ladylike demeanor. "I love everything. It's exactly the way I would have decorated it. Exactly."

"I used to live here," I told her, not sure why. I hadn't confided anything of the sort to my last tenant. "My mother lived in the main house. I lived back here."

A little half-smile played nervously with the corners of Alison's lips. "Does this mean we have a deal?"

"You can move in whenever you're ready."

She jumped to her feet. "I'm ready right now. All I have to do is go back to the motel and pack my suitcase. I can be back within the hour."

I nodded, only now becoming aware of the speed at which things had progressed. There was so much I didn't know about her. There were so many things we had yet to discuss. "We probably should talk about a few of the rules...," I sidestepped.

"Rules?"

"No smoking, no loud parties, no roommates."

"No problem," she said eagerly. "I don't smoke, I don't party, I don't know anyone."

I dropped the key into her waiting palm, watched her fingers fold tightly over it.

"Thank you so much." Still clutching the key, she reached into her purse and counted out twelve crisp $100 bills, proudly handing them over. "Printed them fresh this morning," she said with a self-conscious smile.

I tried not to look shocked by the unexpected display of cash. "Would you like to come over for dinner after you get settled?" I heard myself ask, the invitation probably surprising me more than it did her.

"I'd like that very much."

After she was gone, I sat in the living room of the main house, marveling at my actions. I, Terry Painter, supposedly mature adult, who had spent my entire forty years being sensible and organized and anything but impulsive, had just rented out the small cottage behind my house to a virtual stranger, a young woman with no references beyond an ingratiating manner and a goofy smile, with no job and a purse full of cash. What, really, did I know about her? Nothing. Not where she came from. Not what had brought her to Delray. Not how long she was planning to stay. Not even what she'd been doing at the hospital when she saw my notice. Nothing really except her name.

She said her name was Alison Simms.

At the time, of course, I had no reason to doubt her.

From the Hardcover edition.

Editorial Reviews

“It’s hard to sit down and read a few pages of one of [Fielding’s] novels and not want to read the rest. Right now.” -- Knoxville News-Sentinel

From the Hardcover edition.

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