Leaving the painting at Vanetta Harewood’s studio with its face against the wall was out of the question. She had, after all, offered it to me, and since Harriet had paid in full for the work, it belonged rightly to her estate at Buckshaw.
I would hang it secretly, I decided, in the drawing room. I would unveil it for my family with as much ceremony as I could muster. I could hardly wait.
In the end, it hadn’t been terribly difficult to arrange the transfer. I’d asked Mrs. Mullet to have a word with Clarence Mundy, who operated Bishop’s Lacey’s only taxicab, and Clarence had agreed to “lay on transportation,” as he put it.
On a dark and rainy afternoon in late September, we had rolled up at the gate of the cottage studio in Malden Fenwick, and Clarence had walked me to the door with an oversized black umbrella.
“Come in,” Vanetta Harewood said, “I’ve been expecting you.”
“Sorry we’re a bit late,” I said. “The rain, and so forth …”
“It’s no trouble at all,” she replied. “To be truthful, I’ve been finding the days rather longer than usual.”
Clarence and I waited in the hall until the glowering Ursula appeared with a large object, wrapped in brown paper.
“Keep it dry,” Vanetta said. “It’s my best work.”
And so we brought Harriet’s portrait to Buckshaw.
“Hold the umbrella for me,” Clarence said, preparing to wrestle the package from the backseat of the taxicab. “I’m going to need both hands.”
Shielding the parcel from the slanting rain, we dashed to the door, as awkward as three-legged racers.
I had handed Clarence the fare and was halfway across the foyer when suddenly Father emerged from his study.
“What have you dragged home now?” he asked, and I couldn’t find it in my heart to lie.
“It’s a painting,” I said. “It belongs to you.”
Father leaned it against the wall and returned to his study, from which he emerged with a pair of shears to cut the several turns of butcher’s string.
He let the paper fall away.
That was two weeks ago.
The portrait of Harriet and her three children is no longer in the foyer, nor is it in the drawing room. Until today, I’d searched the house in vain.
But this morning, when I unlocked the door of my laboratory, I found the painting hanging above the mantelpiece.
I’ve mentioned this to no one.
Father knows it’s there and I know it’s there, and for now, that’s all that counts.
NOTE TO THE READER
In order to provide sufficiently dramatic lighting for this story, I must admit to having tinkered slightly here and there with the phases of the moon, though the reader may rest assured that, having finished, I’ve put everything back exactly as it was.
ACKNOWLEDGMENTS
The writing of a book is, among many other things, an extended journey with friends: a kind of pilgrimage. Along the way we have met, sometimes parted, shared meals, and swapped stories, ideas, jokes, and opinions. In doing so, these friends have become inextricably woven into the book’s fabric.
My heartfelt gratitude to Dr. John Harland and Janet Harland, to whom this book is dedicated, for many years of friendship and countless excellent suggestions.
To Nora and Don Ivey, who not only opened their home to me, but also saw to it personally that one of my lifelong dreams was made to come true.
To my editors: Bill Massey at Orion Books in London, Kate Miciak at Random House in New York, and Kristin Cochrane at Doubleday Canada in Toronto. And particular thanks to Loren Noveck and Connie Munro, at Random House, New York, my production editor and copy editor respectively, who toil away quietly behind the scenes doing much of the work for which I get the credit.
To Denise Bukowski, my agent, and Susan Morris at the Bukowski Agency, who fearlessly juggle all the mountains of detail with astonishing efficiency.
To Brad Martin, CEO of Random House Canada, for his abiding faith.
To Susan Corcoran and Kelle Ruden of Random House, New York, and Sharon Klein of Random House, Toronto, for their phenomenal support.
To Natalie Braine, Jade Chandler, Juliet Ewers, Jessica Purdue, and Helen Richardson of Orion Books, London, who have relieved me of so much of the worry.
To Jennifer Herman and Michael Ball for making the miles fly by and delivering me safely.
To Ken Boichuk and his Grimsby Author Series, with gratitude for a most memorable evening.
To my old friend Robert Nielsen of Potlatch Publications, who published some of my earliest fiction, and who
