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Don't Go to Sleep in the Dark (1972) was the first gathering of Celia Fremlin's short fiction, a form in which she had published prolifically - for the likes of She , Playmen , and Ellery Queen's Mystery Magazine - while building her reputation as a novelist of psychological suspense. Female characters predominate in these tales, as does the doom-filled atmosphere that was Fremlin's metier. She explores her familiar theme of strained mother-child relations, but she also delves into the supernatural realm as well as the psychological. As ever, her capacities for making the everyday unnerving and keeping the reader guessing are richly in evidence. 'Here are thirteen harrowing tales by the indisputable mistress of horror.' Chattanooga Times 'An outstanding collection...all are well-written and all are possible and none should be read when alone in a dark house.' Savannah Morning News
About the author
Celia Fremlin (1914-2009) was born in Kent and spent her childhood in Hertfordshire, before studying at Oxford (whilst working as a charwoman). During World War Two, she served as an air-raid warden before becoming involved with the Mass Observation Project, collaborating on a study of women workers, War Factory. In 1942 she married Elia Goller, moved to Hampstead and had three children. In 1968, their youngest daughter committed suicide aged 19; a month later, her husband also killed himself. In the wake of these tragedies, Fremlin briefly relocated to Geneva. In 1985, she married Leslie Minchin, with whom she lived until his death in 1999. Over four decades, Fremlin wrote sixteen celebrated novels - including the classic summer holiday seaside mystery Uncle Paul (1959) - one book of poetry and three story collections. Her debut The Hours Before Dawn won the Edgar Award in 1960.
Summary
Don't Go to Sleep in the Dark (1972) was the first gathering of Celia Fremlin's short fiction, a form in which she had published prolifically - for the likes of She, Playmen, and Ellery Queen's Mystery Magazine - while building her reputation as a novelist of psychological suspense.
Female characters predominate in these tales, as does the doom-filled atmosphere that was Fremlin's metier. She explores her familiar theme of strained mother-child relations, but she also delves into the supernatural realm as well as the psychological. As ever, her capacities for making the everyday unnerving and keeping the reader guessing are richly in evidence.
'Here are thirteen harrowing tales by the indisputable mistress of horror.' Chattanooga Times
'An outstanding collection...all are well-written and all are possible and none should be read when alone in a dark house.' Savannah Morning News
