Vacant Possession and over one million other books are available for Amazon Kindle. Learn more

Vous voulez voir cette page en français ? Cliquez ici.


or
Sign in to turn on 1-Click ordering.
or
Amazon Prime Free Trial required. Sign up when you check out. Learn More
More Buying Choices
Have one to sell? Sell yours here
Start reading Vacant Possession on your Kindle in under a minute.

Don't have a Kindle? Get your Kindle here, or download a FREE Kindle Reading App.

Vacant Possession [Paperback]

Hilary Mantel
4.0 out of 5 stars  See all reviews (2 customer reviews)
List Price: CDN$ 14.26
Price: CDN$ 12.93 & eligible for FREE Super Saver Shipping on orders over CDN$ 25. Details
You Save: CDN$ 1.33 (9%)
o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o
Only 1 left in stock (more on the way).
Ships from and sold by Amazon.ca. Gift-wrap available.
Want it delivered Tuesday, May 28? Choose One-Day Shipping at checkout.
‹  Return to Product Overview

Product Description

From Publishers Weekly

The haunting sequel to Mantel's Every Day Is Mother's Day (see above) offers powerful insight into its precursor. Muriel Axon is the untouchable yet tarnished heroine here, and she selectively reveals her disturbing plans for revenge against all who vaguely knew and despised her. A decade after the close of the first book, Muriel has just been released from the institution where she was housed after her mother's suspicious death, and has since acquired new skills to aid her vengeful mission. Taking on the identity of "Poor Mrs. Wilmot," she rents a room from paranoid Russian landlord Mr. Kowalski and works the night shift as a cleaning lady at St. Matthew Hospital, where, not coincidentally, she assumes an unlikely bedside manner with the elder Mrs. Sidney and her former social worker Isabel Field's bedridden father. Mrs. Sidney's son, Colin; his wife, Sylvia; and their four children have moved into the former Axon home despite its history as a house of violent tragedy. Even after a renovation and the help of a new though odd housekeeper, Lizzie Blank, the house refuses to be maintained. Although Colin ended an affair years ago, the strain of being the breadwinner while being ignored by the civic-minded Sylvia and hassled by his money-grubbing teenagers allows him to entertain the fantasy of finding his lost lover. And he does reconnect, thanks in part to his naive, 18-year-old daughter. Surprise revelations from start to finish mark Mantel as a remarkably clever writer whose second book, paired with her first, makes for wickedly pleasurable reading. (Mar.)
Copyright 2000 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

From Library Journal

A rundown, and possibly haunted, Victorian house takes center stage in these back-to-back black comedies, written by British novelist Mantel (The Giant, O'Brien) with a distinct Rendellian flavor. In the first story, set in the mid-Seventies, Evelyn Axon, a terrorized, guilt-ridden widow, lives with her dull-witted daughter, Muriel. Into their lives comes the nettlesome social service bureaucracy, primarily in the person of Isabel Field, the last in a long series of social workers assigned to their case. Isabel has problems of her own, though, the main one being a stagnating affair with Colin Sydney, a married man she has met in an evening class on creative writing. Muriel has been encouraged to participate in weekly workshops for the mentally handicapped at the local community center, but she eludes both her mother and her case workers and manages to get herself pregnant. All these lives intersect at the novel's bizarre conclusion, as Evelyn dies, Muriel is institutionalized, and Colin Sydney's family take up residence in the Axons' house. The second novel opens ten years later as Muriel is caught up in the Eighties trend to deinstitutionalize the mentally challenged. Out on the streets once more, she knowingly adopts multiple personas with the misguided intention of exacting revenge on those she believes have wronged her, principally Isabel Field and Colin Sydney. Slowly, all these entangled lives begin to come undone. Like her fellow Brits Rose Tremain and Penelope Fitzgerald, Mantel continually produces novels that chart fresh terrain and derive from a wellspring of creative imagination. These two early novels herald the promise of the rich and varied literary career that followed. Recommended for most public libraries.
-Barbara Love, Kingston Frontenac P.L., Ont.
Copyright 2000 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

From Kirkus Reviews

The sequel to Mantel's first novel (see above), originally published in 1986, continues the story of retarded woman Muriel Axon's life following her mother's death and her own ten-year incarceration in a mental hospital. Released when public funding disappears and her second ``home'' closes its doors, Muriel, now 44, uses the animal cunning her sufferings have taught her to assume different personalities: as herself, a hired domestic named Lizzie (after the celebrated axe-murderess) Blank, and the den mother, in effect, of a loose society of former fellow inmatesall the while assuring herself ``I won't always need to be three people. It's only till I give them their comeuppance.'' The pronoun denotes those people Muriel imagines guilty of placing on her the blame for her mother's ``accident'': their inept social worker Isabel (now married, and a mother-to-be) and especially the family of Isabel's former lover Colin Sidney, who has bought the Axons' old house. Muriel now returns there, as (Colin's wife) Sylvia Sidney's hired help. As before, Mantel weaves together the fates of this story's hilariously, inextricably mutually involved characters (including Colin's teenaged daughter Suzanne, defiantly pregnant by the husband of you-may-well-guess-whom) with impressive dexterity. Characters who seemed only marginal in Every Day. . . such as Isabel's doddering father Philip Field and Colin's flustered sister Florencehere become important linchpins in the construction that is the juggernaut of Muriel Axon, hellbent on punishing those who have assumed her imbecility and robbed her of her due. The narrative gathers fearful momentum as Mantel isolates and makes grim ironic use of several cryptic and crucial found objects: a set of disembodied teeth, a phrenologist's demonstration head, and a tiny skeleton. An ingenious melodrama, and a wintry portrayal of insulted and injured souls that William Trevor might well envy. With this novel Mantel achieved full technical mastery, and she's only got better since. -- Copyright ©2000, Kirkus Associates, LP. All rights reserved. --This text refers to an out of print or unavailable edition of this title.

Review

"Mantel is a master storyteller, and here she's just having a wickedly good time."--San Francisco Chronicle

"It would be hard to over emphasize the mean pleasure to be found in Vacant Possession."--Kathryn Harrison, The New York Times

"Mantel imbues her writing with a unique combination of exhileration and dread. . . . She shows us how fiction can lift us into the extraordinary."--Meg Wolitzer, The Washington Post Book World

"Savage and funny black humour at its best." --Observer (London)

"Hilary Mantel's wit is wonderfully and startlingly nasty." --Sunday Times (London)

"Filled with fiish glee . . . Lie back and laugh yourself silly: this is the best s-up for a long, long time." --New Statesman

About the Author

Hilary Mantel is the bestselling author of many novels including Wolf Hall, which won the Man Booker Prize and the National Book Critics Circle Award for fiction. Bring Up the Bodies, Book Two of the Thomas Cromwell Trilogy, was also awarded the Man Booker Prize and the Costa Book Award. She is also the author of A Change of Climate, A Place of Greater Safety, Eight Months on Ghazzah Street, An Experiment in Love, The Giant, O'Brien, Fludd, Beyond Black, Every Day Is Mother's Day, and Vacant Possession. She has also written a memoir, Giving Up the Ghost. Mantel was the winner of the Hawthornden Prize, and her reviews and essays have appeared in The New York Times, The New York Review of Books, and the London Review of Books. She lives in England with her husband.

Excerpt. © Reprinted by permission. All rights reserved.

VACANT POSSESSION

"I wonder who will be the new Poet Laureate?" said Colin Sidney, coming down to breakfast. There was no reply from the other residents at number 2, Buckingham Avenue. He paused on the half-landing, looking out of the little window. He saw the roof of his garage, and his neighbour's garden. "Well, who?" he muttered. There was nothing in view but a scudding 8:00 A.M. sky, a promise of weak sunshine, a vista of close, green, dripping trees. Midsummer. Colin went down, twitching his tie.

Behind him, the three younger children were preparing for their day. He heard shrieks and curses, the kicking and slamming of doors. The radio was on, and they were playing records too; Acid Raine and the Oncogenes were shaking the walls with their current hit single. "Ted Hughes?" Colin asked. "Larkin?"

There would be perhaps ten minutes' grace before the children erupted down the stairs to fall on their breakfasts and begin their daily round of feuding amongst themselves and insulting their parents. Colin examined himself in the mirror at the bottom of the stairs. He wished that Sylvia would move it, so that he did not have to begin every day with a confrontation. Perhaps he could ask her. He did not think of moving it himself. He had his spheres of action; this was not one of them.

He saw a man of forty-three, with bright blue eyes, thinning hair, and what he described to himself as faded good looks. But no, he thought; courtesans are faded, schoolmasters are merely worn. He saw a kind of helplessness, in the face of family and wider society; a lack of fibre, both moral and dietary. Listening to the racket above, he solaced himself with a quotation: "They fuck you up, your mum and dad / They may not mean to, but they do."

Sylvia was in the kitchen already. He thought he could hear her special muesli mix cascading like a rockfall into a dish. But instead he found her in the middle of the room, head tipped back, gazing upwards.

"What a mess," she said. The entire ceiling and the upper third of the walls were coated with the black smeary deposit from yesterday's fire. Lizzie, the daily, had opened the door from the hall, and there it was, stinking smoke billowing everywhere. Lucky she had presence of mind, or it would have been far more serious.

"I can't see why it's so greasy," Sylvia said. "It isn't as if we ever fry anything." She gave a little hitch to the pants of her tracksuit. "The whole room'll need repainting. Probably the hall as well."

"Yes, all right," Colin said, going to the table. He was sick of hearing about the fire. "Can I have an egg?"

"Well, be it on your own head," Sylvia said. "You've had two this week. You know what the doctor said."

"I think I'll be reckless for once." Colin opened the fridge. "Was young Alistair at home when this fire started?"

"If he was, he won't admit it."

"He's the source of most of the calamities round here, isn't he? And I can tell you now--" He broke off. "Where's a pan for this egg?"

"Where it always is, Colin."

"I can tell you now I'm not doing the repainting." He ran the tap. "Either Alistair does it--for a fee, if necessary--or we get somebody in."

Sylvia picked up an orange from a straw basket on the worktop. "I don't see why you can't do it." She tossed the orange into her left hand, and it slapped against her palm. "It's the end of term soon."

"True. I have one day's summer holiday and then I start on next year's timetable."

Sylvia's eyes followed him as he moved about the kitchen. "Are you having bread?" she asked, her tone incredulous.

Striding about in her bright blue tracksuit, Sylvia would never have been taken for a mother of four. Suzanne, the eldest, was eighteen now; her mother was waiting hopefully for the day when someone would mistake them for sisters. It was mysterious, this matter of Sylvia's age. At twenty, she had looked forty; all the girls on her street wanted to look like their mothers. The Youth Cult passed her by; at thirty she looked forty still, square and deep-bosomed, with her hair bleached and lacquered in the way she had worn it on the day she was married.

Then at some stage--Colin couldn't pinpoint it--she had stopped getting older. She took herself in hand. She bought a leotard, and went timidly to a class at the church hall; she stood watching, her hands splayed self-consciously to hide her pannier thighs. The next week she bought a tape of disco music, and started dancing. She clumped over the fitted carpets, making the glass shelves tinkle in the china cabinet that had been her mother's. She threw out the china cabinet, and got some pine shelves instead.

These days she wore her brown hair in a short curly perm, which her hairdresser, Shane, believed would soften her firm, rather harsh features. Her body was lean now, dieted and disciplined, capriciously nourished and not too much: as far as her brain was concerned, she was taking a course at the Open University. Now that she had lost so much weight, she was always in pursuit of new clothes, little tee shirts and cotton skirts which were bright, cheap, and casual; she picked up her ideas on the same plan. It seemed to Colin that she had chosen, among current fads and notions, all those designed to diminish his self-respect and make him most uncomfortable.

How nice it would be if she had a job, Colin thought. He was a Deputy Head; they scraped along. There were even luxuries, like Lizzie Blank the daily woman (Tuesdays and Thursdays). But the children ate so much, and left the lights on and the taps running; they needed outfits and treats, and dinner money and bus money and more money, they insisted, for day-glo paint and handcuffs and all the other stuff you wore to an Acid Raine concert. They wanted special diets and school trips, and a tent so they could sleep in the garden in summer; they wanted video nasties, and Claire--it was reassuring, he supposed--wanted a new Brownie uniform. Every whim cost cash down. For all he knew, they might be maintaining a heroin habit. It couldn't have cost more. When he opened his bank statements he felt as if he were being eaten away, month by month, from the inside out.

But unfortunately, there were no jobs; not for anybody really, and certainly not for Sylvia. She was not qualified for anything. She was educated now, but not trained. The old Sylvia showed through too often. She became emotional when their opinions differed. Under pressure, she was always regressing to the received wisdom of the cooked meats factory where she had worked before they were married.

Colin found a plate for his bread and took it to the table. "So..." he said. "What are you up to today?"

"Citizens Advice Bureau, ten till twelve." Sylvia peeled her orange. "Then later on there's this committee meeting. We're thinking about setting up a women's refuge."

There was something bubbling and thwarted in Sylvia that only meddling in other people's business would satisfy. Before the birth of their youngest child Claire, when they had lived on a large housing estate, there had been plenty of time for gossip; some of it idle, some of it manipulative. Buckingham Avenue had repressed her, with its absence of tittle-tattle, its well-kept fences, its elderly residents leading sedate and private lives. Good fences make good neighbours, he used to say, when they moved in, nine years ago. Sylvia didn't agree. In her fortieth year, Sylvia discovered social concern. She discovered community action, and protest, and steering committees. If Alistair's blossoming delinquencies didn't spoil her chances, she'd probably end up a JP. This was a big change; but it was not unaccountable. The children no longer needed her, and the marriage was not worthy of sustained attention. It just ran on, taking care of itself. After twenty years you can't expect passion. It's enough if you're barely civil.

Colin stood over the cooker and looked down at his egg, bobbing dizzily in a froth of leaking white. As if alive, it flew about and tapped itself against the side of the pan. He picked up a teaspoon and dabbed at it, scalding his fingers in the steam. He could feel Sylvia watching him. By her standards, he had no common sense: he had never laid claim to it. But he was a clever man, and capable in his own line. His face wore a habitual expression of strained tolerance, of goodwill and anxiety, uneasily mixed.

"We're still marking exams," he said. He dipped for his egg with a tea strainer, which he had found by chance in a drawer. "I've got three hundred reports to sign. And the union blokes are coming in to see me this morning. You'd think they'd let it rest till after the holidays. But no."

"Strike?"

"Well, they're talking about it."

"I've every sympathy."

"So have I, I want a pay rise too, but it makes it bloody difficult to run a school." He sighed, and went about with his egg.

"What are you doing?" Sylvia asked. "Why don't you put it in an egg cup and sit down with it? Or are you going to race off with it down Lauderdale Road?"

Colin sat down with his ovoid ruin and picked up the newspaper. The day had brightened and the pleasant morning sun shone through his double glazing. "I always think of Gulliver's Travels when I eat an egg," he told his wife. "You see--" He broke off, gaped, put down his egg spoon, and seized up the newspaper. "Good God, Sylvia. York Minster's burned down. Look at this." He thrust the newspaper at her. The front page bore the headline NIGHT SKY LIT UP BY GOTHIC GLORY ABLAZE and a four-column picture of the Minster's south transept wreathed in smoke and flame.

"It never rains but it pours," Sylvia remarked, glancing at the kitchen ceiling. She tilted her yoghurt carton and scraped it out delicately with her teaspoon. "Funny, Lizzie was off to York yesterday on a day trip. I wonder if she saw it."

"It happened at half two in the morning."

"What a pity. She doesn't like to miss anything."

"Good God, it's not a tourist attraction," Colin said. "It's a national tragedy. Four million...

‹  Return to Product Overview

Amazon.ca Privacy Statement Amazon.ca Shipping Information Amazon.ca Returns & Exchanges