Alison Case - Nelly Dean

The Borough Press,

An imprint of HarperCollins Publishers

1 London Bridge Street

London SE1 9GF

www.harpercollins.co.uk

First published by HarperCollins Publishers 2015

Copyright © Alison Case 2015

Cover layout design © HarperCollins Publishers Ltd 2016

Cover lettering by Alexandra Allden

Cover photographs © Marie Carr/ Arcangel Images (woman); Mark Owen / Trevillion Images (landscape)

Alison Case asserts the moral right to be identified as the author of this work

A catalogue record for this book is available from the British Library

This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.

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 e-books

Ebook Edition © August 2015 ISBN: 9780008123406

Source ISBN: 9780008123420

Version 2016-02-10

For my brothers: Chris, Tim and Brady

With love

Table of Contents

Cover

Title Page

Copyright

Dedication

Chapter One

Chapter Two

Chapter Three

Chapter Four

Chapter Five

Chapter Six

Chapter Seven

Chapter Eight

Chapter Nine

Chapter Ten

Chapter Eleven

Chapter Twelve

Chapter Thirteen

Chapter Fourteen

Chapter Fifteen

Chapter Sixteen

Chapter Seventeen

Chapter Eighteen

Chapter Nineteen

Chapter Twenty

Chapter Twenty-One

Chapter Twenty-Two

Chapter Twenty-Three

Chapter Twenty-Four

Chapter Twenty-Five

Chapter Twenty-Six

Chapter Twenty-Seven

Acknowledgements

A Q&A With Alison Case

Writing Nelly Dean

Praise for Nelly Dean

About the Author

About the Publisher

Dear Mr Lockwood,

I don’t suppose you’ll be expecting to hear from me, not since I sent you the few bits of things you left behind on your last visit – you’ll remember, the handkerchiefs and your carved walking stick that turned up after you left. I’m not writing about anything like that now – I am sorry to say that we never did find your other pair of spectacles. I think they must have fallen from your overcoat pocket when you were floundering in the snow that night, and got trodden into the mud after it thawed in spring. I turned the house here inside out last month, when we were getting ready for the wedding: every drawer and cupboard emptied, and the carpets and cushions and bedding all taken out to be aired and beaten. I’m sure we would have found them then if they were to be found. And that covers everything that you wrote to me was missing.

There, I said I wasn’t writing about your things, and I have gone and done it anyway. It’s an old habit with me, to get the chores finished off before settling down to a bit of time for myself, and those spectacles of yours have been weighing on my mind like a half-sewn shirt or a half-swept floor. Or a half-told tale.

It’s that I’m writing to you about, Mr Lockwood: the story I told you over those long, dark nights. And about the story I didn’t tell. Don’t mistake me, please, I told you no lies, or not what you would call lies. Or at least – well, we’ll come to that. But there were things I didn’t say, things I couldn’t say, then, and perhaps shouldn’t now. But they’ve weighed on me since, and my mind has kept returning to you listening, and me talking, and I’ve imagined myself again and again telling you all those other things, and you taking an interest in them, as a story, you know, as you did that other tale I told. I half fancied that you might pass this way again, to pay a visit and see for yourself how Hareton and Cathy were coming on, and perhaps you might sit with me by the fire in the sitting room, and I would tell you another story altogether, a homespun grey yarn woven in among the bright-dyed and glossy dark threads of the Earnshaws and Lintons.

So when your letter came about the things you missed, and you wrote that you were to be settling in Italy for your health, I saw that that would never be. And to be honest, even if you had, I could never have told you such a story to your face. But it pleased me to think of it, and as I’ve said, it bothered me a bit, some of the things left out of that other story, till it came to where I sat myself down and started to write. So here I am.

It was a strange thing, telling you that story, hour after hour, pulling myself back into all those times, and sorting and choosing among my memories what to tell and what not. You asked me to tell you everything, to leave out nothing, but of course no one can do that, tell all they’ve seen and heard and felt, and all they’ve known and thought, wondered, and suspected too. And I was so afraid of wearying you! You thought it was a simple thing: you asked for Heathcliff’s story, and I knew it and told it to you, same as I might have told you any current story about the doings of a neighbour here, or one of the tales of folk from the other world that we tell on dark nights. And if somewhere in the middle you’d grown weary and wanted to hear no more of it, why that would be that. Yet the story would be there with me, just the same, though untold. But the story wasn’t there until I told it to you. It wasn’t a story to tell, just a jumble of memories, like pictures in my mind: young Heathcliff tossing his dirty mane from his eyes like a wild moor pony; the two of them standing side by side, sullen and defiant, under one of Joseph’s lectures; or later, Catherine glittering and primping in her new finery; or Heathcliff with that set, frozen look he’d get under one of Hindley’s savage beatings, so that I didn’t know which was the more awful: the baffled rage in Hindley’s red face, that all his wild flailing with strap or stick could wring no cry nor plea from the boy, or the still hatred in Heathcliff’s white one, that promised I didn’t know what – all that came after, it seems to me now.

See, that’s how it is when you tell a story. You can’t help changing things, seeing the future lying curled in the past like a half-grown chick in an egg. But it’s not so. Putting myself back there, looking at him then, Heathcliff’s face promised nothing, foreboded nothing, and I felt only sickness and horror looking on it, loving them both, in my own way, as I did, and powerless to stop them. In the midst of scenes like that, Mr Lockwood – and may God grant that you never learn the truth of this yourself – there are no stories, because there is no past and no future, only now. And afterwards, it seemed best to forget them, if I could. Until you asked about the folks at Wuthering Heights, and then I thought, ‘Maybe this is where you come in, Nelly Dean, after all.’

It seemed so strange that all that remained of the family I grew up with at the Heights, and my own two beloved bairns as well, should be shut up together just a short way down the road – each, as it seemed, set only on making misery for the others – and I, the one person on earth that loved them all, barred from giving any help at all. And then you arrived, a handsome gentleman of independent means, ‘taking solitude as a cure’ – though for what ailment you wouldn’t say. But it was soon plain enough you were hungry for excitement, and could no more bear being alone than the tabby cat here, that turns up her nose and stalks away from my offered caresses, but then comes and jumps in my lap the moment I’m settled by the fire to sew. So off you went to the Heights the first fine day, and came back singed and smarting from your reception, but interested too, and curious. And you’d seen my little Cathy, as lovely and loving a girl as any man could wish, to my mind, locked up there like a princess in a tower, and only needing to be rescued.