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Thicker Than Blood
by Erin Kelly
Published by The Borough Press
an imprint of HarperCollinsPublishers Ltd
1 London Bridge Street
London SE1 9GF
First published in Great Britain by HarperCollinsPublishers 2018
In the compilation and introductory material © Kate Mosse 2018
Thicker Than Blood © Erin Kelly 2018
The moral rights of the author have been asserted
Cover design by Holly Macdonald © HarperCollinsPublishers Ltd 2018
Cover photographs © Sally Mundy/Trevillion Images, © Shutterstock.com petals
A catalogue copy of this book is available from the British Library.
This story is entirely a work of fiction. The names, characters and incidents portrayed in it, while at times based on historical events and figures, are the works of the author’s imagination.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.
Source ISBN: 9780008257439
Ebook Edition © August 2018 ISBN: 9780008303167
Version: 2018-07-17
Contents
Copyright
Foreword by Kate Mosse
Thicker Than Blood
Note on the Author
A Note on Emily Brontë
About the Publisher
SO, WHAT MAKES Wuthering Heights – published the year before Emily Brontë’s own death – the powerful, enduring, exceptional novel it is? Is it a matter of character and sense of place? Depth of emotion or the beauty of her language? Epic and Gothic? Yes, but also because it is ambitious and uncompromising. Like many others, I have gone back to it in each decade of my life and found it subtly different each time. In my teens, I was swept away by the promise of a love story, though the anger and the violence and the pain were troubling to me. In my twenties, it was the history and the snapshot of social expectations that interested me. In my thirties, when I was starting to write fiction myself, I was gripped by the architecture of the novel – two narrators, two distinct periods of history and storytelling, the complicated switching of voice. In my forties, it was the colour and the texture, the Gothic spirit of place, the characterisation of Nature itself as sentient, violent, to be feared. Now, in my fifties, as well as all this, it is also the understanding of how utterly EB changed the rules of what was acceptable for a woman to write, and how we are all in her debt. This is monumental work, not domestic. This is about the nature of life, love, and the universe, not the details of how women and men live their lives. And Wuthering Heights is exceptional amongst the novels of the period for the absence of any explicit condemnation of Heathcliff’s conduct, or any suggestion that evil might bring its own punishment.
This collection is published to celebrate the bicentenary of Emily Brontë’s birth in 1818. What each story has in common is that, despite their shared moment of inspiration, they are themselves, and their quality stands testament both to our contemporary writers’ skills, and the timelessness of Wuthering Heights. For, though mores and expectations and opportunities alter, wherever we live and whoever we are, the human heart does not change very much. We understand love and hate, jealousy and peace, grief and injustice, because we experience these things too – as writers, as readers, as our individual selves.
August
‘IS THAT THE BRAND-NEW iPad?’ Heath was up to his shoulders in the hot tub, one dry arm resting on the side, finger on a screen that was tiled with images of Cat. He had his back to Izzy, but could tell by her tone that she would be twisting the hem of whatever ridiculous garment she was wearing. ‘It’s just, if you drop it in the water, that’s the third one this year.’
‘I paid for it,’ he said through a rigid jaw, ‘and if I do drop it, which I won’t, I’ll pay for a new one.’
‘It’s just, it’s the waste?’
Heath reached for another bottle, the eye tattoo winking with the flex of his bicep, and uncapped it with his teeth. Four beers down and it was still too early to tell whether drinking would make him relax around Izzy or stoke his irritation with her. Either way, he was too busy to be interrupted: on the Instagram phase of his nightly cycle through Cat’s social media accounts. He’d already done Twitter and Facebook, and after Instagram, would have to work his way through what he thought of as the associated accounts, the people she called her friends, and the ‘man’ she called her husband. The associated accounts were in some ways more revealing than Cat’s own, as a friend might catch her dropping her guard, exposing the misery behind her heavily filtered life. When it happened, he could go to her. She could only pretend for so long, even to herself, to be totally jazzed about this life Ed had given her, this life of farmers’ markets, group holidays in Provençal gîtes, charity fundraisers, and strawberries and cream at Centre Court, and fucking golfing holidays.
It was a low-activity evening: Cat had liked a couple of things but hadn’t posted herself. If he was lucky he’d only have to go through the cycle once and he’d
