The Man in the Picture

The Man In The Picture is a curious little tale. Anyone who has seen the stage production of The Woman In Black (or indeed read it) will know that writer Susan Hill is a mistress of suspense.

The tale begins in Cambridge told by a story teller within the story: a likable Cambridge don by the name of Theo Parmitter. 

This lends the tale a somewhat cosy quality – you can almost hear him saying, “Are you ready?  Then I will begin.” 
However, what begins as a fireside anecdote for a winter’s night quickly takes a more sinister turn that pulls the other main character, Oliver, into the narrative. 

There is a subtle trick to writing a good frightening story - which this is - which entails a  slow build-up of events and a few odd happenings that are often predictable.
The suspense is in the anticipation that these very things will, as sure as your trembling hands are turning the page, take place.
And a well-written thriller must be mostly psychological rather than all out horror.
 The Man In The Picture is also a mystery – the goings-on are as inexplicable to the characters as to the reader.
 This could be construed as a flaky attempt to make up for holes in the story but Hill’s characterization and descriptive powers are rich and convincing. 

Not wanting to give too much away, the “picture” of the title is a Venetian carnival scene.
Much of the action does evolve around Venice –  although the book is firmly set in modern-day England - if not entirely within the place itself, then within a dream-like realm inhabited by the main characters (let’s just say that the painting has a life of it’s own). 

Without doubt, Venice is a wonderful setting for a thriller and I couldn’t help thinking of the film, Don’t Look Now– one of the greatest horror films in cinema history. 
A city built on water filled with hidden squares and alleys leading to dead ends, it is a perfect place to get lost both physically and mentally. 

And the Venetian mask is a scary symbol of mystery (hiding the darker side of the psyche). 
The language and style of writing is almost Victorian, adding to the atmosphere of a bygone age where the unexplained can and will happen.

 In a final chilling twist that recalled Japanese horror, The Ring (can you tell that I’m trying to get you film buffs and non-readers interested?!), Hill had me questioning just how much I am prepared to believe.

 It’s a brave move for a writer as it almost undoes all the trust she has built up with the reader - almost – but not quite.

This book is “a great yarn” and it is short enough to read in one sitting – perfect for snuggling up in bed with on Halloween night. 
If you dare.


Published by Profile Books, buy this book on amazon

Claire Storrow