![]() ![]() Ware tells a cracking tale and, as in her breakout novel In a Dark, Dark Wood, the house itself plays a hugely menacing part in proceedings. ![]() ![]() Left on her own with the children almost from the start, things quickly go from bad to worse – creaking footsteps at night, lost keys, a walled garden filled with poisonous plants, a history of hauntings. She learns that the four previous incumbents have resigned in the past 14 months, but takes the job anyway, despite the discovery of an ominous note left by her predecessor and the desperate pleading of one of her new charges to stay away because “the ghosts wouldn’t like it”. And I didn’t kill that child.” The Turn of the Key then shifts back in time and Rowan tells her story from her discovery of an advert looking for a “practical, unflappable” nanny to look after four children in the wilds of Scotland. I am the nanny in the Elincourt case, Mr Wrexham. “I guess it comes down to this in the end. Written from prison, they plead with him to take her on as a client. Rowan, the narrator of Ruth Ware’s spooky, tense thriller about an apparent haunting in the Highlands, starts her story with a bundle of letters to a barrister. ![]()
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