***Sticks and Stones

funeral

Herry Lawford, creative commons license

By Jo Jakeman – Phillip Rochester was a man who had everything—an ex-wife who acted more like his mother, a current wife, and his new young lover. When this debut domestic thriller opens, these three women are together at Rochester’s funeral, and each subsequent chapter begins by saying how long before the funeral it takes place.

Although Phillip is a malevolent presence in the lives of all three women, who live somewhere outside London, this is really their story as told by his current, albeit estranged and increasingly frantic wife Imogen. About three weeks before the funeral, Imogen visits Phillip’s home. She’s determined to stop his foot-dragging about signing the divorce papers and his increasing demands for more time with their son Alistair.

Imogen eventually leaves without seeing her ex. But she has seen something: evidence that Phillip is bullying his paramour Naomi in the same way she herself had been bullied for years, leaving more emotional than physical damage, though plenty of that too. But Phillip was a police officer, and the one time Imogen reported the abuse, the cops who arrived were buddies of his, and it was clear her complaint wouldn’t go anywhere. In her experience, ex-wife Ruby always takes Phillip’s part too.

Phillip’s begun insisting that Imogen and Alistair be out of their jointly owned house by the end of the month. Otherwise, he’ll fight her for custody of their son. He’s willing to play dirty, bringing up Imogen’s bouts of depression as evidence she’s unfit. When Phillip appears unexpectedly with new demands, Imogen, in a desperate moment, locks him in the cellar. It’s a small act of revenge that feels good, but now what?

By keeping most of the action in Imogen’s house and, even more constricted, the cellar, author Jo Jakeman creates a claustrophobic atmosphere that adds to the story’s power. The house and its disposition become a metaphor for the intimate relationship that has gone awry. Ruby and Naomi appear on the scene, and, over the next few days, power shifts back and forth as first Phillip and the women hold the upper hand. The relationships among these three women are nicely developed and believable, as is Imogen’s mistrust of them. Phillip is less convincing. It appears he’ll stop at nothing to maintain his control over them.

Starting the book with the information that Phillip is dead and the women are not removes a major source of tension from the story. Nevertheless, you wonder how it happens, and the novel takes pains to tell you why. If you’re a fan of the close-in domestic thriller, this may be a book you’d enjoy.