Love Always: A sweeping summer read full of dark family secrets from the Sunday Times bestselling author. Harriet Evans
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just always knew. Dad, too. And Uncle Jeremy. That’s why he never comes back.’ She shrugs.
‘Well, as you like. I don’t believe for a second, a second –’ and I raise my voice so I’m speaking as loudly as possible without shouting, and I can hear myself, high above the clinking masts in the harbour, above the train engine – ‘that my mother killed Cecily, or anyone. I don’t know what happened, but I know that much.’ I sling my bag over my shoulder.
‘Hey –’ she begins. ‘That’s just what they say. I’m just saying—’
‘No,’ I interrupt. ‘Let’s not go into it again, OK? I think I’m going to get on, now. See you around then. Thanks for—‘ I don’t know what to thank her for, but since I’ve started I think I’d better finish. ‘Er – thanks for sharing the taxi fare with me.’
Octavia nods back – what else can she do? – and says, ‘No problem.’
I don’t look back at her as I walk towards the train. I pray I don’t bump into her again, but I’m pretty sure she’ll steer clear of me this time. She thinks she’s done me a favour. That’s what upsets me most of all. Pointed out how stupid I’ve been.
In the summer the buffet car is always full; people arrive as early as possible to get a seat so they’re not shut into their cabins, which are initially cute but soon become claustrophobic. In winter, the car is nearly empty, and after I have dumped my bag in the single-bed cabin and admired the free set of toiletries, I settle down into one of the single seats by the window, with a table and a lamp, and put my bag in front of me. I look around hastily again, but Octavia hasn’t appeared. The diary pages are still in my pocket. I sit there, and the train pulls slowly away from the station, and I don’t know what to feel.
There’s a Times on the opposite seat – the guard obviously missed it – and I pick it up. I order some tea and biscuits, even though I’m not hungry, and I start reading the paper. The news absorbs me. I read about a cabinet plot to oust the Prime Minister, the flooding all over the country, the travails of a minor sportsman and his ‘celebrity’ wife, what’s happening in a reality TV show, which MP has tried to claim an antique rug on expenses. I feel as if I’ve been away for a long time, and I am gathering information to piece myself back together, bit by bit.
I know before I turn the page to the Obituaries section that I will see a photo of my grandmother, scarf in her hair, a broad smile curling over her perfect teeth, brush in hand, a mug of tea and painting paraphernalia – palette, brushes, rags, turps – cluttered around her, in the studio I was standing in over an hour ago. It looks completely different, crammed with canvases, postcards stuck on the walls, pot plants, a gramophone.
Something catches in my throat. She is smiling out at me. It’s like Cecily’s face, shining out of the drawer.
Frances Seymour
Highly acclaimed observer of Cornish landscape who never painted after 1963
Frances Seymour, who has died at the age of eighty-nine, was what one would call a star. Not for her the flamboyance, the tantrums and temperamentality, clichés of the artist: she was universally beloved, charismatic and beautiful, a magnet for men and women alike; her house, the beautiful Summercove near Treen in Cornwall, open to all and a haven for friends and family. She lit up every room she was in and her company was a rare gift.
Because of her charm and force of personality it is easy to forget, therefore, the gap Seymour created when she abandoned painting after the death of her youngest daughter Cecily, in a tragic accident. Frances never forgave herself for her daughter’s death, and some have speculated this was her form of penance, for the events of that summer in 1963. This is not established. What it is important to establish, however, is the role Frances Seymour played before that in sealing the reputation of British painting in the mid-twentieth century.
Frances Seymour was not a Cornish painter, or a female painter. She was simply one of the most talented artists of the last century.
This was my grandmother, I want to shout. I want to wave the paper out of the window, like the Kind Old Gentleman in The Railway Children. Look how clever she was, how brilliant!
Tears come to my eyes, and I’m crying, I can’t help it. I don’t understand anything any more. I keep hearing Octavia’s voice, and when I close my eyes I can see her large grey eyes, her pointy noise, looming at me in the dark, as she oh-so-carefully stabs my mother in the back, over and over again. I want to hate her, to laugh at her, but I can’t. I ask myself why I can’t.
Because, despite what I said to her only an hour before, I’m terrified that she’s right.
I look out of the window, as if I expect to see someone’s face there. We have been going fast, through a blur of nondescript-looking villages, but suddenly it is dark, a landscape with no lights at all. I can see my own reflection in the window, nothing more. My neck and the newspaper are both startlingly white against the blackness outside, the blackness of my coat and dress. I stare at myself; I can’t see the tears; I look like a ghost. In the black and white of the light, I look like Cecily.
Carefully, I tear the obituary out of the paper and fold it. The tearing sound is loud, and the couple at the table next to me look up, curiously. I stand up and smile, backing away towards my room and when I get there, I fall onto the familiar old scratchy blue blanket and the smooth white sheets. I take the pages out of my pocket and sit on the lower bunk, holding them in my hand, gazing at them, at the scrawling black handwriting, my finger and thumb poised to turn the first page. I close my eyes.
And now I can see myself, suddenly, back at Summercove. There are voices I recognise, but they’re different somehow, thinner, higher. Bright sunshine is streaming into the living room, the smell of sea and grass and something else, something dangerous, almost tangible, rushing towards me . . . And Cecily’s face, as it was in the oil sketch. Come with me! Come with me, she is saying. And I do. I take a deep breath and I follow her, down to the sea.
The Diary of Cecily Kapoor, aged fifteen. July, 1963.
St Katherine’s School for Girls
Denmouth Devon England
If lost please return
Saturday, 20th July 1963
Dear Diary,
First day of holidays. That is – count it, my dears, count it –
SEVEN WEEKS of blissful beautiful no school!! !!
My summer project starts NOW.
I am writing this sitting on my bed at Summercove. On the patchwork quilt Mary sewed me when we first moved here and I was scared at night. One of Mummy’s sketches is on the wall, of our little cove down on the beach. There is a cupboard for our clothes built into the wall with sweet little plastic handles dotted with stars. What else? There are two shelves painted white with all my books on them (I share this room with my sister Miranda. But she only reads Honey magazine). I have everything from My Friend Flicka to Pride & Prejudice & they are all mine.
Today is the first proper day of the holidays. I got home yesterday. I love the luxury of the beginning of the hols, where time seems to stretch out before you, for ages & ages. We go back 8th Sept. It seems a lifetime away.
I have never kept a diary before. Two days ago, the last day of classes, Miss Powell gave everyone in our class ten pages of paper, tied together with string and our names on, and told us to keep a record of our summer holidays: she said to write down what we did, who we saw, and what happens. Everyone groaned when Miss Powell said it, but I was glad. I want to be a writer when I grow up & this is good practice.
No one else was that excited about it, only me really. Annabel Taylor, who can barely write in joined-up writing, looked completely appalled. I have laid a wager with myself. It is that she will write 2 pages over the summer, and those will be about the boys she knows.
(that is not very nice of me).
Miss