Nine Coaches Waiting by Mary Stewart
I have never encountered any reader who did not adore Mary Stewart’s gothic mystery, Nine Coaches Waiting. From the author who invented the suspense-romance, this universally admired classic is often referenced as the favorite of all Stewart novels. Literary allusions seamlessly sewn into the narrative, each chapter is headed by an epigraph bringing deeper meaning and connection to events within.
It is not long into the tale when Linda Martin, just arrived in Paris to serve as governess to the young and newly-orphaned heir to Château Valmy, reflects on the draw to her assignment, simultaneously embedding observers in a close read and unwittingly receiving a glimpse into events ahead. Though she dismisses her remembered poetic reference as inappropriate to the moment, her insight into significance behind the novel’s title is telling.
Oh, think upon the pleasure of the palace:
Securèd ease and state, the stirring meats,
Ready to move out of the dishes, that e’en now
Quicken when they’re eaten. . . .
Banquets abroad by torch-light! music! sports!
Nine coaches waiting — hurry, hurry, hurry —
Ay, to the devil. . . .
Having also lost her parents at an early age, Linda is returning to her mother’s homeland, where she herself was raised until taking up residence in an English orphanage. As an adult she is recruited to the governess position, contingent upon her Englishness, for Léon and Héloïse de Valmy want young Phillipe to perfect his English language skills. She conceals her French fluency from the uncle and aunt, later chalking up her tension at their first meeting to her keeping a secret from them.
Her wariness, however, persists as she is unable to shake a feeling of menace. Léon comports himself with a strange brand of arrogance and soundlessly rolls through the estate in his wheelchair. Héloïse is aloof, with a “chilly elegance” that sets Linda into an inexorable state of second guessing herself. Thankfully she and her charge, the nine-year-old Comte de Valmy, develop a good rapport and, in fact, we see his growing attachment to and somewhat dependence upon Linda, for he is not only a lonely little boy but also one deeply disattached from his uncle and aunt. Linda reasons that his bereavement surely plays a role in this, until an accidental shot fired at Phillipe during a walk in the forest results in a near miss that Linda begins to contemplate might not have been so accidental.
Through the novel Stewart’s trademark descriptive powers are in full evidence, leading us from one occurrence to the next on a narrative as flowing and verbally picturesque as the settings she describes. When Linda is invited to the Easter Ball and gathers the courage to attend, she admires the dress she has sewn; the natural world is threaded through Stewart’s portrait of her gaze, fractal light references indicating Linda’s spirits, the mood, possibilities.
The long window curtains mirrored behind me were of rose-colored brocade. The lighting was lovely. As I moved I saw the gleam of the cobwebbed silver thread shift and glimmer through the white cloud of the skirt the way sunlight flies along blown gossamer.
Stewart also engages her protagonist in a budding romance, albeit one that defers to the central mystery as the novel’s primary focus. We see Linda initially becoming attached and the relationship develops, though as events play out we can never be sure where Raoul’s motives position him, or of his explanations for his actions. The suspense becomes wound so tightly that by the end, no matter what readers may have suspected regarding this character, the end results nevertheless come as a twist because it always could have gone either way. Being the consummate master that she is, Stewart utilizes character self-reflection as technique to turn the screw.
The characters of Nine Coaches Waiting are drawn to the era of the then-contemporary novel, set in the 1950s, and as a result readers will find some interaction that dates the work. At one point Linda refers to herself as “only a woman,” though it is set in a passage in which she remonstrates herself and may be employing a bit of sarcastic self-reflection.
Curiously, however, Stewart periodically engages postmodernist technique within character interaction, such as by noting Mrs. Seddon’s accent in her pronunciation of Rowl—in a manner noted only by readers and Linda; she herself is unaware. Linda, in concealing her ability to speak French, places her awareness in the minds of others in order to perceive herself as they do, and remember not to acknowledge what she has heard.
As Linda’s initially guarded response to the de Valmy clan transitions into distrust, suspicious behavior elevates and unexplained accidents continue. The young governess must face the terrifying consequences of remaining at the isolated château with her charge or find a way out, and work out if the man she loves is who she should be running from.
As with Thunder on the Right, Nine Coaches Waiting is a blast from my past, and the thrill I felt as events began to heat up was no less enthusiastic this time round. Perhaps more than any other of her many novels, Stewart’s background in literature is quite evident in this one: the literary snippets throughout foreshadow events and reflect the young woman’s thought processes. Linda is compared to Jane Eyre and Cinderella, and she hearkens back to her earlier ruminations on The Revenger’s Tragedy when she inwardly contemplates Léon de Valmy as the Demon King (and hears him refer to himself as the fallen Lucifer). That the author can effectively manage a sweep through centuries of poetry and prose while remaining true her plot strengthens the story and is a testament to the mastery that even today continues to mesmerize and gain new readers as they discover the magic that is Mary Stewart.
A lovely blog in honor of the late Mary Stewart.
Click title to see the series intro, “The World of Mary Stewart.”
This post has been updated to include links to related entries.