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Vera
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Vera
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Vera
Ebook324 pages4 hours

Vera

Rating: 4 out of 5 stars

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About this ebook

A handsome stranger enters Lucy Entwhistle's life on the very day of her father's death. Everard Wemyss is mourning the recent loss of his wife, and he and Lucy are drawn together in their shared experience of grief. A remarkable bond forms between the despairing couple, the thought of separation proves intolerable, and they are quickly married and settled into Everard's isolated country home, The Willows. But everything about the mansion is shadowed with the specter of Vera, its previous mistress. As Everard gradually becomes increasingly overbearing and abusive, Lucy begins to wonder about the circumstances of Vera's "accidental" death.
This darkly comic novel by the author of Enchanted April is believed to have inspired the Daphne du Maurier classic Rebecca. Elizabeth von Arnim based Vera on her own ill-starred marriage to a member of the British aristocracy. Her 1921 novel offers a witty and compelling look at a sinister possibility of a marriage in which a self-absorbed bully can exploit a naïve young woman, and romantic delusions can keep a wife in thrall to her husband's tyranny.
LanguageEnglish
Release dateFeb 28, 2018
ISBN9780486829678
Author

Elizabeth Von Arnim

Elizabeth von Arnim was born in Australia in 1866 and her family moved to England when she was young. Katherine Mansfield was her cousin and they exchanged letters and reviewed each other’s work. Von Arnim married twice and lived in Berlin, Poland, America, France and Switzerland, where she built a chalet to entertain her circle of literary friends, which included her lover, H. G. Wells. Von Arnim’s first novel, Elizabeth in Her German Garden, was semiautobiographical and a huge success on publication in 1898. The Enchanted April, published in 1922, is her most widely read novel and has been adapted numerous times for stage and screen. She died of influenza in 1941.

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Reviews for Vera

Rating: 3.9338235470588234 out of 5 stars
4/5

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  • Rating: 4 out of 5 stars
    4/5
    Vera by Elizabeth von Arnim is perhaps a more disturbing tale than du Maurier?s Rebecca. At least at the end of Rebecca there is resolution and we find that Malcolm de Winter isn?t a monster, that it was indeed Rebecca who bloody well asked for it. Vera is the first wife of Everard Wemyss who meets her death by falling out of the window in her own home. Lucy, innocent girl who has just been devastated by the death of her father, meets Everard and they cling to one another and eventually marry. From the beginning we feel suspicious towards Everard because he is not grieving it seems, just upset by the fact that he should have to go through this period of mourning and that he was made to go through an inquest into his wife?s death (of which he was acquitted). All of this is Vera?s fault and not his. We feel for Lucy on the other hand because she is young and only has an aunt now to look after her. After her marriage, she witnesses Everard?s temper for herself and is worried, but manages to overcome all questions with her love for him. The aunt does try and intervene and gives him a piece of her mind, but not nearly enough in my opinion. I was rooting for her all the way through, but she ends up leaving Lucy to him. Which leaves us wondering how long it will take until Lucy throws herself out the window?
  • Rating: 4 out of 5 stars
    4/5
    On the day of her father's funeral, Lucy meets Everard Wemyss, whose wife has very recently died under shocking circumstances (she fell to her death from a window of a room in their house). Lucy and Wemyss quickly establish a friendship and fall in love, although Lucy's aunt, Miss Entwhistle, is suspicious of Wemyss. Even before she knows the details of his wife's death, her suspicions are aroused by the fact that, so soon after two tragedies, he wears 'light grey trousers' - not black or even dark grey ones. Though a bit 'twittery', Miss Entwhistle seems to have the measure of Wemyss. She knows that if Lucy is determined to marry Wemyss she will do so, and that being warned off him will only drive her more firmly into his arms, and so the marriage goes ahead.One she's married, however, Lucy quickly learns the true nature of her husband. He likes Lucy to call him 'baby', and he does indeed behave like a spoilt, sulky child for much of the time. A wrong word, a misplaced laugh, and Wemyss goes into a sulk from which Lucy has to coax him. He seems to think he owns Lucy, body and soul. "Her thoughts mustn't wander, she had discovered; her thoughts were to be his as well as the rest of her. Was ever a girl so much loved? she asked herself, astonished and proud; but, on the other hand, she was dreadfully sleepy."He pretends to take her views and desires into account, but this is an illusion. He asks her if she wants to do something, but having given a few 'wrong' answers she has come to realise that "his question was only decorative, and his little love should instinctively, he considered, like what he liked".After the honeymoon, Wemyss takes Lucy back to his home, The Willows, in which he lived with his first wife Vera, and where she died. Lucy hates the thought of sleeping in the same bed Vera slept in, and is horrified to learn that Wemyss hasn't re-decorated or changed the house at all since Vera's death. Wemyss doesn't understand Lucy's feelings, calling them 'morbid'. "Lucy fought and fought against it, but always at the back of her mind was the thought, not looked at, slunk away from, but nevertheless fixed, that there at The Willows, waiting for her, was Vera."Married, Wemyss treats Lucy like a child, either ordering her around or consoling her with babytalk. Lucy is perplexed by her husband and decides that the only way she can cope with her marriage is to 'let it wash over one'.Rather like Charlotte Bronte's Bertha Rochester, Vera is present and yet not-present. It seems to me significant that Wemyss keeps all the books locked up, apart from the ones that belonged to Vera - one of which, we're told more than once, is Wuthering Heights. It would be neat if it had been Jane Eyre instead, but perhaps Vera had that book, too. When Miss Entwhistle visits Lucy and finds Vera's books, she's drawn to the conclusion that Vera longed to escape, and found her escape through death. She notes that, "The greater proportion of the books in Vera's shelves were guide-books and time-tables." She realises that Lucy is trapped, and tries to make allowances for Wemyss, but the man is impossible. She understands Wemyss: "He was like a great cross schoolboy, she thought, sitting there being rude; but unfortunately a schoolboy with power." She ends up telling him a few home truths, but Wemyss couldn't be more blind to his own faults and Miss Entwhistle's perceptive remarks fail to penetrate.At the end of the book, he turns Miss Entwhistle out into the night. She, like Vera, makes her escape. We can only wonder what will happen to Lucy after a few years - or even months - of marriage to a man who - as Miss Entwhistle has realised - actively enjoys 'being in a temper, and having me to bully'. [April 2005]
  • Rating: 4 out of 5 stars
    4/5
    Blackly humorous, Vera treads perfectly between the horrifying and commonplace in its portrait of a deeply - indeed, dangerously - dysfunctional courtship and marriage. It's a brilliant fiction which remains both bitingly funny and rather frighteningly 'true'.
  • Rating: 4 out of 5 stars
    4/5
    The day young Lucy Entwhistle's father died, she was only able to stand, staring, feeling nothing. Along came Wemyss, a man of about forty-five, who had just lost his wife. This shared bereavement brings he and Lucy together: Wemyss makes all the plans for Mr. Entwhistle's funeral, they spend much time together comforting each other, and they soon become engaged. Lucy's aunt, Miss Entwhistle, is rather perplexed by the whole turn of affairs, but she determines to like Wemyss for Lucy's sake, even though he shows all the character of a spoiled brat.Vera was Wemyss's former wife, who died under somewhat mysterious circumstances, yet whose memory permeates much. At first, I thought the story was going to be headed in a similar direction as Rebecca, but even though I didn't particularly like Max de Winter, he had nothing on Wemyss. Everard Wemyss has made my top five list of most hated characters in literature. His behavior made me want to slap him, shake him, finally to punch him. I loved Miss Entwhistle's standing up to him, and wished Lucy was more able to assert herself. But like many in an unhealthy relationship, she's quick to forgive and forget. Reading about them as they progressed from engagement into marriage was like watching a car crash - you know it's going to be terrible, but can't help continuing.
  • Rating: 5 out of 5 stars
    5/5
    Seems like a precursor in some ways to 'Rebecca'.
  • Rating: 4 out of 5 stars
    4/5
    ‘My little love isn’t going to do anything that spoils her Everard’s plans after all the trouble he has taken?’ he said, seeing that with her mouth slightly open she gazed at him in an obvious astonishment and didn’t say a word.Vera, written in 1921 and partly informed by von Arnim’s marriage to Earl Russell (the older brother to Bertrand), is as fascinating as it is frightening.Vera tells the story of young Lucy who marries the somewhat older Everard Wemyss and finds herself caught. The tragedy of it is, she doesn’t realise it.Vera is often described as the prototype for Du Maurier’s Rebecca (1938). In some ways this is quite true:Vera, like Rebecca, lends her name to the book’s title. Vera, like Rebecca, is the late wife of the husband. Vera, like Rebecca, haunts the young new wife.However, on levels of dysfunction, Vera surpasses Rebecca by far.Marriage, Lucy found, was different from what she had supposed; Everard was different; everything was different. For one thing she was always sleepy. For another she was never alone. She hadn’t realised how completely she would never be alone, or, if alone, not sure for one minute to the other of going on being alone. Always in her life there had been intervals during which she recuperated in solitude from any strain; now there were none. Always there had been places she could go to and rest in quietly, safe from interruption; now there were none.I pretty quickly in the book wanted to shake Lucy and make her see what she was getting into, but I am not sure she would have listened.As the story progressed, dysfunction turned into what can only be described as a nightmare, and I truly hoped that Lucy, much like von Arnim, would find a means to escape from psycho-Everard’s clutches. Or that she’d push him off a cliff. Or the top floor window.Well, that was at the very beginning. She soon learned that a doubt in her mind was better kept there. If she brought it out to air it and dispel it by talking it over with him, all that happened was that he was hurt, and when he was hurt she instantly became perfectly miserable. Seeing, then, that this happened about small things, how impossible it was to talk with him of big things; of, especially, her immense doubt in regard to The Willows.
  • Rating: 5 out of 5 stars
    5/5
    Not one of von Arnim's well-known ones, but SO brilliantly written. As someone married to a man frighteningly reminiscent of Everard Wemyss, I felt the author was writing for me, and that the strange, irrational arguments, to which i am accustomed, actually have been experienced by another!The novel opens with a young girl sitting outside her house in shock; her beloved father has just died, leaving her an orphan; her only relative a spinster aunt. Along the road comes an older man, apparently in a similar situation following his wife's recent death. Offering help and support to young Lucy, it is no surprise that a relationship soon ensues.However Everard's behaviour soon comes to seem a little odd - from bestowing caresses and babytalk on his 'Little Love', to becoming rapidly and not always predictably furious at any check to his plans. And when we learn of his late wife's demise- plunging from an upper window, thought to be suicide, we become still more dubious.This is an extremely tense-making book. The reader is amazed at Everard's lack of perspicacity, expecting Lucy to move happily into the room through whose window Vera took her life. His controlling, overbearing personality and utter self-absorption, lead to a character equally comic and menacing."She was afraid of him and she was afraid of herself in relation to him. He seemed outside anything of which she had experience...There seemed no way, at any point, by which one could reach him."Lucy soon learns that her husband's tactics of bullying and forever taking offence, mean there can never be a frank exchange of views, that she must weigh her every word."Come here, my little savage- come and sit on your husban's knee and tell him all about it."...But she didn't tell him all about it, first because by now she knew that to tell him all about anything was asking for trouble, and second because he didn't really want to know. Everard, she was beginning to realise with much surprise, preferred not to know. He was not merely incurious as to other people's ideas and opinions, he definitely preferred not to know."The eponymous Vera never appears in person- she is the dead wife, and while Lucy sees her portrait, peruses her books and muses on her, it is with an increasing fellow-feeling...Based on the author's second marriage (to the brother of philosopher Bertrand Russell), this was a masterly portrait of an emotionally abusive marriage.
  • Rating: 5 out of 5 stars
    5/5
    This is book is really heartbreaking. It is so well-written and so real that I felt emotionally involved. Vera is a sad story, but I think it is very instructive as well. Everard Wemyss was apparently based on Elizabeth von Arnim's second husband, which is very sad.

    Some quotes I bookmarked:

    "She had never met any one so comfortable to lean on mentally...Such perfect rest, listening to his talk. No thinking needed. Things according to him were either so, or so. With her father things had never been either so, or so; and one had had to frown, and concentrate, and make efforts to follow and understand his distinctions, his infinitely numerous, delicate, difficult distinctions. Everard's plain division of everything into two categories only, snow-white and jet-black, was as reposeful as the Roman church. She hadn't got to strain or worry, she had only to surrender."

    "Yes, she was extremely abject, she reflected, lying awake at night considering her behaviour during the day. Love had made her so. Love did make one abject, for it was full of fear of hurting the beloved. The assertion of the Scriptures that perfect love casteth out fear only showed, seeing that her love for Everard was certainly perfect, how little the Scriptures really knew what they were talking about."

    Here is a longer excerpt:

    "But she didn't tell him all about it, first because by now she knew that to tell him all about anything was asking for trouble, and second because he didn't really want to know. Everard, she was beginning to realise with much surprise, preferred not to know. He was not merely incurious as to other people's ideas and opinions, he definitely preferred to be unconscious of them.

    "This was a great contrast to the restless curiosity and interest of her father and his friends, to their insatiable hunger for discussion, for argument; and it much surprised Lucy. Discussion was the very salt of life for them,—a tireless exploration of each other's ideas, a clashing of them together, and out of that clashing the creation of fresh ones. To Everard, Lucy was beginning to perceive, discussion merely meant contradiction, and he disliked contradiction, he disliked even difference of opinion. 'There's only one way of looking at a thing, and that's the right way,' as he said, 'so what's the good of such a lot of talk?'

    "The right way was his way; and though he seemed by his direct, unswerving methods to succeed in living mentally in a great calm, and though after the fevers of her father's set this was to her immensely restful, was it really a good thing? Didn't it cut one off from growth? Didn't it shut one in an isolation? Wasn't it, frankly, rather like death? Besides, she had doubts as to whether it were true that there was only one way of looking at a thing, and couldn't quite believe that his way was invariably the right way."