Let’s dispense with the easy part. “Gram calls photographs paper ghosts. She says they’re the only ghosts everyone can see.” So says Willamena Wester — Wills to her friends — the central character of Sarah Addison Allen’s new novel, Paper Ghosts. The real apparitions show up later.
Gram is Alice Wester, the dowager of Hen Town. Nothing escapes Alice’s ability to know it or divine it in some quasi-mystical way. “Rewind,” the first of the novel’s three parts, takes place in 1976. Wills is a teenager, and her posse is known as The Feathers, named for their teased-to-the-max hairstyle. “By the time the bell rang, Wills had managed to get Dorothy’s feathers back in place, though she’d used so much hair spray that Dorothy was now combustible,” writes Allen.
We meet Andy Smooth, the head of a traveling musical group, and Jack Vaughn, the band’s youngest member and the person Wills falls desperately in love with. “He was quoting Shakespeare again, while dancing to a song no one could hear under an umbrella when there wasn’t a storm, with his hand to her waist as if it was meant to be there.” Ratted out by one of The Feathers — with a Polaroid, of course, of the young clandestine couple — Gram is determined to keep Willamena in Hen Town and tries to buy off young Jack, who accepts the money as a get-out-of-town stake, then tries to convince Wills to go with him.
“And I lie awake at night thinking about a beautiful girl I just met whose grandmother has made her believe that she can only exist here, that she will vanish like magic if she steps outside of this place, so she’s afraid to leave. And I can’t stay,” says Jack.
A tussle ensues in Gram’s “redbrick, federal-style home . . . three stories tall and imposing with more windows to see what was going on than any other house in town.” Jack tumbles down a flight of stairs — perhaps or perhaps not helped along by Gram — and dies. He’s buried in the basement but his ghost remains.
And so does Wills. We “Fast Forward” in part two, and Wills, who married (and outlived) the man she was supposed to marry before Jack came along, has remained in Wester House and, in almost every respect, morphed into her grandmother. Her nickname, to the living, has morphed, too, into Mim. At the door are her widower son, Tug (Terrance), and her granddaughter Bailey, who are moving in. “‘You’re a remarkable woman, Wills, but even you can’t open a door without turning the knob first,’ she heard Jack say from behind her.”
Tug gives Bailey the tour. “For the next half hour, the presence in the house followed them as Tug made sure Bailey knew every nook and cranny, most of it off-limits due to what he called the Wester Rules,” writes Allen. “The Wester Rules weren’t actually his rules. They were Mim’s. And they weren’t made up on the spot, either. They’d been around for a long time.” Those rules included no visitors, no music and a double-lock on the basement door.
Bailey, it turns out, can see Jack if Jack wants to be seen. “To her astonishment there was now a handsome young man standing next to the piano. He looked like someone from decades ago with his dark hair touching his shoulders and a shaggy mustache shaped like a horseshoe. His jeans had bell bottoms so long they touched the floor, and the snaps of his shirt were undone nearly to low-rise at this hips. There was a yellow rose pinned to the wide collar. He seemed so happy to see her that he didn’t know what to say. Or maybe he was just happy for her to finally see him.”
Mim becomes as protective of Bailey as her grandmother had been of her, a choice that leads to a different kind of disaster when Bailey is accosted, not by a true love like Jack, but by a thug of a man named Clutch, which calls for a different kind of accident altogether. Let’s just say, Clutch gets his — another mystery solved in the end. “I know I made you dependent on only me and your father for companionship, but I thought it was the one thing that would keep you safe until you could make your own decisions,” says Mim. “But what really happened was you grew up desperate to feel connection, which led you to Clutch. If I had just told you this story of the man I fell in love with, instead of imposing on you something you didn’t understand, things would have ended differently.”
Allen writes in the opening of her epilogue, “Once upon a time, there was a family of witches. But witches, it turns out, are sometimes only women who have been hurt, and are determined not to be again.” The toing and froing through the generations can get a bit confusing at times, but the trip is worth it. The great fiction writer Raymond Chandler once counseled others to try to put three things on every page that mean something to you as a writer. A sentence, a description, maybe just a word. The cumulative effect will be quality. Allen’s ability to turn a phrase is a fine example of it.
Of Jack: “It was such a vulnerable moment, his guard down, loneliness beaming through the cracks.”
Of Mrs. Orr, the housekeeper: “. . . taking every smudge on the furniture as a personal insult . . .”
On Jack: “It was Jack. Her beautiful Jack. He looked so out of place, a wildflower in a manicured garden.”
On Wester House: “This was an old house and the floorboards creaked like knee joints.”
On the neighborhood in Hen Town: “There was a curious element of the unseen, like if money could haunt you, it would haunt you here, where the air was as soft and cottony as a veil.”
When Mim leaves the house: “People immediately got on their phones and called their neighbors, tracking her movements across town the way they might have tracked a grizzly bear that wandered out of the woods.”
On Bailey: “Every time she colored her hair, she liked this moment best — looking in the mirror and seeing someone she didn’t recognize, hoping it was someone she finally wanted to be.”
And so on. They were among the many little treats that made Paper Ghosts a pleasure to read.
