The Paying Guests

Starred review from June 16, 2014
With two brothers killed in WWI and a debt-ridden father who followed them to the grave soon afterward, 27-year-old spinster Frances Wray knows that she and her mother must take in lodgers (euphemistically described as “paying guests”) to maintain their large house in a genteel section of London. In the postwar social landscape of England in 1922, the rise of a new middle class and the dwindling of the old servant class are disrupting longtime patterns of life. The disruptions occasioned by the advent of their tenants, the lower-class couple Leonard and Lilian Barber, are minor at first. But as Frances observes the tensions in the Barbers’ marriage and develops a sexual attraction for the beautiful Lily, who soon reciprocates her love, a fraught and dangerous situation develops. Lost in the passion of mutual ardor, Frances and Lily scheme to create a life together. An accidental murder they commit derails their plans and transforms the novel, already an absorbing character study, into an expertly paced and gripping psychological narrative. When an innocent man is arrested for the women’s crime, they face a terrible moral crisis, marked by guilt, shame, and fear. Readers of Waters’s previous novels know that she brings historical eras to life with consummate skill, rendering authentic details into layered portraits of particular times and places. Waters’s restrained, beautiful depiction of lesbian love furnishes the story with emotional depth, as does the suspense that develops during the tautly written murder investigation and ensuing trial. When Frances and Lily confront their radically altered existence, the narrative culminates in a breathtaking denouement. British writer Waters (The Little Stranger) deserves a large audience.

In a remarkable combination, Juliet Stevenson enlivens Sarah Waters's rich, intimate character study set in 1920s London. In the genteel neighborhood of Champion Hill, Frances Wray and her mother are forced to take in "paying guests"--Leonard and Lilian Barber--to maintain their household after the war. Using a variety of British accents, Stevenson makes class and regional distinctions clear, bringing depth to the many characters and what divides them. As the romantic relationship between Frances and Lilian evolves, Stevenson conveys their sense of urgency and isolation with expert pacing. Flawless are the passages of confrontation between characters, as Stevenson never hesitates to modulate her tone, adjust her pace, or employ a deliberate pause to bring the listener in closer. An authentic, stirring performance. A.S. Winner of AudioFile Earphones Award © AudioFile 2014, Portland, Maine

November 1, 2014

In 1922 London, newly widowed Mrs. Wray has the genteel manners and spacious manse common to her social set. But there isn't enough money for her and her spinster daughter, Frances, to live on, so they must take in lodgers. Enter the Barbers, a married couple who are looking to move up the social ladder. What sounds like a Jane Austen setup quickly segues from clashing manners to building sexual tension between Frances and the beautiful Lilian Barber. Waters (Tipping the Velvet) leads listeners through hidden trysts, murderous plans, and a breathtaking courtroom denouement. This is a tale soaked in atmosphere and blessed with Waters's gimlet eye toward social (pre)tensions. Stage veteran Juliet Stevenson delivers a smartly paced, perceptive narration. VERDICT Recommended. ["For fans of complex historical crime fiction with a strong sense of dread," read the review of the Riverhead hc, LJ 7/14.]--Kelly Sinclair, Temple P.L., TX

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