“Rich, dark, and intricately twisted, this enthralling whodunit mixes family saga with domestic noir to brilliantly chilling effect.” —Ruth Ware, New York Times bestselling author
“A haunting, atmospheric, stay-up-way-too-late read.” —Megan Miranda, New York Times bestselling author
From the New York Times bestselling author of Then She Was Gone comes another page-turning look inside one family’s past as buried secrets threaten to come to light.
Be careful who you let in.
Soon after her twenty-fifth birthday, Libby Jones returns home from work to find the letter she’s been waiting for her entire life. She rips it open with one driving thought: I am finally going to know who I am.
She soon learns not only the identity of her birth parents, but also that she is the sole inheritor of their abandoned mansion on the banks of the Thames in London’s fashionable Chelsea neighborhood, worth millions. Everything in Libby’s life is about to change. But what she can’t possibly know is that others have been waiting for this day as well—and she is on a collision course to meet them.
Twenty-five years ago, police were called to 16 Cheyne Walk with reports of a baby crying. When they arrived, they found a healthy ten-month-old happily cooing in her crib in the bedroom. Downstairs in the kitchen lay three dead bodies, all dressed in black, next to a hastily scrawled note. And the four other children reported to live at Cheyne Walk were gone.
In The Family Upstairs, the master of “bone-chilling suspense” (People) brings us the can’t-look-away story of three entangled families living in a house with the darkest of secrets.
Chapter 1 1 Libby picks up the letter off the doormat. She turns it in her hands. It looks very formal; the envelope is cream in color, made of high-grade paper, and feels as though it might even be lined with tissue. The postal frank says: “Smithkin Rudd & Royle Solicitors, Chelsea Manor Street, SW3.”
She takes the letter into the kitchen and sits it on the table while she fills the kettle and puts a tea bag in a mug. Libby is pretty sure she knows what’s in the envelope. She turned twenty-five last month. She’s been subconsciously waiting for this envelope. But now that it’s here she’s not sure she can face opening it.
She picks up her phone and calls her mother.
“Mum,” she says. “It’s here. The letter from the trustees.”
She hears a silence at the other end of the line. She pictures her mum in her own kitchen, a thousand miles away in Dénia: pristine white units, lime-green color-coordinated kitchen accessories, sliding glass doors onto a small terrace with a distant view to the Mediterranean, her phone held to her ear in the crystal-studded case that she refers to as her bling.
“Oh,” she says. “Right. Gosh. Have you opened it?”
“No. Not yet. I’m just having a cup of tea first.”
“Right,” she says again. Then she says, “Shall I stay on the line? While you do it?”
“Yes,” says Libby. “Please.”
She feels a little breathless, as she sometimes does when she’s just about to stand up and give a sales presentation at work, like she’s had a strong coffee. She takes the tea bag out of the mug and sits down. Her fingers caress the corner of the envelope and she inhales.
“OK,” she says to her mother, “I’m doing it. I’m doing it right now.”
Her mum knows what’s in here. Or at least she has an idea, though she was never told formally what was in the trust. It might, as she has always said, be a teapot and a ten-pound note.
Libby clears her throat and slides her finger under the flap. She pulls out a sheet of thick cream paper and scans it quickly:
To Miss Libby Louise Jones
As trustee of the Henry and Martina Lamb Trust created on 12 July 1977, I propose to make the distribution from it to you described in the attached schedule…
She puts down the covering letter and pulls out the accompanying paperwork.
“Well?” says her mum, breathlessly.
“Still reading,” she replies.
She skims and her eye is caught by the name of a property. Sixteen Cheyne Walk, SW3. She assumes it is the property her birth parents were living in when they died. She knows it was in Chelsea. She knows it was big. She assumed it was long gone. Boarded up. Sold. Her breath catches hard at the back of her throat when she realizes what she’s just read.
“Er,” she says.
“It looks like… No, that can’t be right.”
“The house. They’ve left me the house.”
“The Chelsea house?”
“Yes,” she says.
“The whole house?”
“I think so.” There’s a covering letter, something about nobody else named on the trust coming forward in due time. She can’t digest it at all.
“My God. I mean, that must be worth…”
Libby breathes in sharply and raises her gaze to the ceiling. “This must be wrong,” she says. “This must be a mistake.”
“Go and see the solicitors,” says her mother. “Call them. Make an appointment. Make sure it’s not a mistake.”
“But what if it’s not a mistake? What if it’s true?”
“Well then, my angel,” says her mother—and Libby can hear her smile from all these miles away—“you’ll be a very rich woman indeed.”
Libby ends the call and stares around her kitchen. Five minutes ago, this kitchen was the only kitchen she could afford, this flat the only one she could buy, here in this quiet street of terraced cottages in the backwaters of St. Albans. She remembers the flats and houses she saw during her online searches, the little intakes of breath as her eye caught upon the perfect place—a suntrap terrace, an eat-in kitchen, a five-minute walk to the station, a bulge of ancient leaded windows, the suggestion of cathedral bells from across a green—and then she would see the price and feel herself a fool for ever thinking it might be for her.
She compromised on everything in the end to find a place that was close to her job and not too far from the train station. There was no gut instinct as she stepped across the threshold; her heart said nothing to her as the estate agent showed her around. But she made it a home to be proud of, painstakingly creaming off the best that T.J.Maxx had to offer, and now her badly converted, slightly awkward one-bedroom flat makes her feel happy. She bought it; she adorned it. It belongs to her.
But now it appears she is the owner of a house on the finest street in Chelsea and suddenly her flat looks like a ridiculous joke. Everything that was important to her five minutes ago feels like a joke—the £1,500-a-year raise she was just awarded at work, the hen weekend in Barcelona next month that took her six months to save for, the MAC eye shadow she “allowed” herself to buy last weekend as a treat for getting the pay raise, the soft frisson of abandoning her tightly managed monthly budget for just one glossy, sweet-smelling moment in House of Fraser, the weightlessness of the tiny MAC bag swinging from her hand, the shiver of placing the little black capsule in her makeup bag, of knowing that she owned it, that she might in fact wear it in Barcelona, where she might also wear the dress her mother bought her for Christmas, the one from French Connection with the lace panels she’d wanted for ages. Five minutes ago her joys in life were small, anticipated, longed-for, hard-earned and saved-up-for, inconsequential little splurges that meant nothing in the scheme of things but gave the flat surface of her life enough sparkles to make it worth getting out of bed every morning to go and do a job which she liked but didn’t love.
Now she owns a house in Chelsea and the proportions of her existence have been blown apart.
She slides the letter back into its expensive envelope and finishes her tea.
This reading group guide for The Family Upstairsincludes an introduction, discussion questions, and ideas for enhancing your book club. The suggested questions are intended to help your reading group find new and interesting angles and topics for your discussion. We hope that these ideas will enrich your conversation and increase your enjoyment of the book.
Be careful who you let in.
Soon after her twenty-fifth birthday, Libby Jones returns home from work to find the letter she’s been waiting for her entire life. She rips it open with one driving thought: I am finally going to know who I am. She learns not only the identity of her parents, but also that she is the sole inheritor of their abandoned mansion on the banks of the Thames in London’s fashionable Chelsea neighborhood. The home, even in its dilapidated state, is worth millions. Everything in her life is about to change. What she doesn’t know is that others have been waiting for this day as well—and although they’ve been in hiding, they are now heading her way.
Twenty-five years ago, police were called to 16 Cheyne Walk with reports of a baby crying. When they arrived, they found a healthy ten-month-old safe and sound in the bedroom. In the kitchen, three dead bodies, all dressed in black, were seemingly posed next to a hastily scrawled note. The four other children reported to live at Cheyne Walk were gone.
In The Family Upstairs, the New York Times bestselling author of Then She Was Gone and master of “bone-chilling suspense” (People) delivers another powerful and propulsive story of two families living in a house with the darkest of secrets.
Topics & Questions for Discussion
1. The Family Upstairs is told from three perspectives: Henry, Lucy, and Libby’s. Was there one character in particular whose point of view you especially enjoyed? What is the effect of having Henry’s sections told in first person narration and Lucy and Libby’s told in third person narration? Why do you think Lisa Jewell structured her novel this way?
2. Henry, rightfully, hates David. Yet, Henry and David share many similar tendencies and qualities. Compare and contrast the two men.
3. There are many intriguing characters who do not directly narrate the novel. Is there a character whose point of view you’d have liked to had included? What do you think Martina, for example, thought about David and Birdie’s choices?
4. What is the effect of characters calling Libby “the baby” throughout the novel? How does this inform your opinion of Libby and her role in the story?
5. Which of adult Henry, Lucy, and Clemency’s behaviors can you directly trace back to their harrowing experiences as children? How do you see the influence of their abuse in their grown up lives?
6. The relationship between Henry and Phin is pivotal to the plot, but we aren’t told as much about the friendship between Lucy and Clemency. What details do we glean about their relationship from Henry and Lucy’s memories and Clemency’s account toward the end of the novel?
7. What types of power are wielded in this novel? Who has power, who loses it, and who wants it? Is there a character without any agency?
8. Do you think Henry’s lies and violent acts were born out of his need to survive an unimaginable situation, or do you think there is, as Clemency states, “a streak of pure evil” (page 280) in him?
9. Lucy and Clemency experienced unspeakable abuse as children, but, miraculously, they managed to break the cycle and become good mothers to their children. What are their relationships like with their children? What makes them good moms?
10. After Clemency tells Henry that her father tried to con his own family once, Henry decides he must act against David. As he remembers his conversation with Clemency, he thinks, “It was a fork in the road, really. Looking back on it there were so many other ways to have got through the trauma of it all, but with all the people I loved most in the world facing away from me I chose the worst possible option” (page 274). While Henry claims he would have resorted to less violent ways of escaping the Lamb house, do you really believe him? Or do you think part of him wanted revenge?
11. Libby finds many disconcerting traces of the house’s previous inhabitants when she tours it. Which artifacts did you find the eeriest? Which intrigued you and made you want to find out what had happened inside the house?
12. In your opinion, who is the most tragic figure in this novel? Do they experience healing or redemption?
Enhance Your Book Club
1. When Libby tells Dido that she and Miller are investigating her past and the home she inherited, Dido insists on helping, saying she may be useful because, “I’ve read every Agatha Christie novel ever published. Twice” (page 99). Choose one of Agatha Christie’s mysteries set at a family home with a dark secret, such as Crooked House or Peril at End House, and discuss how Lisa Jewell and Agatha Christie use family homes to similar or different effects.
2. With its atmospheric setting, dark mystery, and twists and turns, The Family Upstairs seems like the perfect book to adapt to a movie. Who would you cast as its stars? Discuss as a group how a director might adapt a book with so many narrators and perspectives.
3. Many of the characters in this novel survived abusive relationships of various types. As a group, consider volunteering at a local women and children’s shelter to support those in your community who are recovering from their own traumas.
Lisa Jewell is the internationally bestselling author of eighteen novels, including the New York Times bestseller Then She Was Gone, as well as I Found You, The Girls in the Garden, and The House We Grew Up In. In total, her novels have sold more than two million copies across the English-speaking world and her work has also been translated into sixteen languages so far. Lisa lives in London with her husband and their two daughters. Connect with her on Twitter @LisaJewellUK and on Facebook @LisaJewellOfficial.
“Mesmerizing. . . Another dark winner from Jewell, who expertly teases out her tricky tale with stunning moments and richly drawn characters.”—Booklist (starred review)
“Un-put-downable . . . distinct, well-developed characters, shifting points of view, and a disturbing narrative that pulses with life create an enthralling tale full of surprises.” —Publishers Weekly (starred review)
“Jewell’s chilling psychological thriller follows Libby as she uncovers the dark, twisty secrets of her family’s past.” —Washington Post
"The domestic suspense master unfurls another delectably familiar tale of family secrets." —Entertainment Weekly
“[A] fast-paced, imaginative tale that keeps the reader guessing right up until the book's final pages." —USA Today
"Lisa Jewell's story is spellbinding…and impossible to put down. By the time we unravel the last of her mysteries, we're almost choking on the malevolent threads that weave themselves into a coy and satisfying conclusion." —Minneapolis Star Tribune
"Jewell has a way with the quietly creepy subgenre of domestic suspense." —CrimeReads
“The Family Upstairs twists-and-turns until the very last page.” —Bustle
“No one can write a creepy domestic suspense thriller quite like Lisa Jewell.” —Goodreads
"So terrifying." —PopSugar
“The Family Upstairs is a fresh, inventive take on domestic suspense; effortlessly traversing intimate family secrets and vast, far-reaching conspiracies, Lisa Jewell’s newest release is a masterclass in psychological thriller plotting. Come for this book’s gorgeous cover and twisty plot, stay for its genuinely surprising and original variations on a story of family secrets and interpersonal suspense. An excellent new release and a standout among 2019’s psychological thriller offerings. . . . One of the most genuinely surprising, boundary-pushing psychological suspense novels I have read this year . . . crafted thoughtfully and carefully . . . so effective and authentic.” —Crime by the Book
“Lisa Jewell has done it again—rich, dark and intricately twisted, this enthralling whodunnit mixes family saga with domestic noir to brilliantly chilling effect.” —RUTH WARE, New York Times bestselling author
“Your hands quake. Your breath fades. Your heart wallops your ribs. Medical emergency or Lisa Jewell novel? Few writers of psychological suspense devise such swift, slippery plots; fewer still people their stories with characters so human and complex. The Family Upstairs glitters like a blade and cuts even deeper.” —A. J. FINN, New York Times bestselling author of The Woman in the Window
“A haunting, atmospheric, stay-up-way-too-late read. I was desperate to uncover all the twisting mysteries inside The Family Upstairs, layer by tangled layer. Eerie, suspenseful, and completely consuming.” —MEGAN MIRANDA, New York Times bestselling author of All the Missing Girls
“I’ve just raced through the brilliantly dark and disturbing The Family Upstairs. Absolutely couldn’t put it down, it’s so good!” —B. A. PARIS, New York Times bestselling author of Behind Closed Doors
“Taught and fast-paced.” —Kirkus Reviews
“I’m a big fan of Lisa’s books and had hoped to save it for my holiday next week, but failed miserably by devouring The Family Upstairs as soon as it arrived. I was hooked from the first page, I think it’s her best yet and hands down my favourite book so far this year.” —ALICE FEENEY, New York Times bestselling author of Sometimes I Lie
“Absolutely brilliant. Great characterisation, a fascinating and dark set-up and a great conclusion. She’s always great but this is next level stuff.” —SARAH PINBOROUGH, New York Times bestselling author of Behind Her Eyes
“The perfect poolside read. The perfect anywhere read, tbh. This book is riveting, moving, and out in August. Highest possible level of recommendation.” —SOPHIE HANNAH, New York Times bestselling author
“A twisty and engrossing story of betrayal and redemption. Reminiscent of Donna Tartt in scope and quality.” —IAN RANKIN, New York Times bestselling author
“An abandoned baby, a surprise inheritance, a cobwebbed Bohemian mansion—The Family Upstairs is rich in mystery from the very first page, and Lisa Jewell’s best book yet.” —ERIN KELLY, author of He Said, She Said
“A stunning psychological thriller with a horrific, yet all too believable, family story at its centre. Full of atmosphere and menace. I was gripped from the first page.” —ELLY GRIFFITHS, author of The Stranger Diaries
“Lisa Jewell is the most wonderful writer, and funnily enough we’ve written about a similar theme with our new books—cults, in microcosm and macrocosm. The Family Upstairs is out 8 August and I can’t rant enough about how brilliant it is.” —ALEX MARWOOD, author of The Wicked Girls
“Utterly compelling. Deliciously dark and twisty with characters who live on in your head. Lisa Jewell just keeps getting better and better.” —JANE CORRY, author of My Husband's Wife and I Looked Away
“Wow. Lisa Jewell has done it again. I absolutely loved The Family Upstairs. Intriguing, absorbing, unputdownable with characters so real they jump from the page.” —LAURA MARSHALL, author of Three Little Lies and Friend Request
“Whenever I pick up a Lisa Jewell novel I know I'm for a compelling, immersive and unputdownable read and The Family Upstairs is one of her very best. It’s an intriguing, claustrophobic and compelling mystery about a family that comes to stay and refuses to leave. I hugely enjoyed it and couldn't put it down.” —C. L. TAYLOR, author of The Missing and The Lie
"Intoxicating...[Lisa Jewell] is an author to watch." —Entertainment Weekly
Praise for Watching You:
“Quickly and assuredly, Jewell builds an ecosystem of countervailing suspicions…Tricky, clever, unexpected.” —New York Times Book Review
“A twisty British mystery...Brace yourself as Jewell stacks up the secrets, then lights a long, slow fuse.” —People
“Page one intrigued me. Page three hooked me. By page five, I was consumed. This compulsive, propulsive novel is both a seize-you-by-the-throat thriller and a genuinely moving family drama. Stellar.” —A. J. FINN, #1 New York Times bestselling author of The Woman in the Window
"A twisty whodunit." —Cosmopolitan
"Big Little Lies-esque small town drama with stakes as high as Amy from Gone Girl's IQ, Lisa Jewell's latest thriller is not to be missed." —InStyle
"Watching You takes the idea of obsession to chilling heights." —PopSugar
"This suspense is going to have you turning the pages all night long." —Bustle
"Stellar domestic drama...Expert misdirection keeps the reader guessing, and the rug-pulled-out-from-beneath-your-feet conclusion—coupled with one final, bonechilling revelation—is stunning. Best not to bet on anyone. A compulsive read guaranteed to please fans of A. J. Finn and Ruth Ware." —Booklist (starred review)
"Jewell weaves a taut multiperspective, domestic/community suspense story that is sure to please fans of Ruth Ware and A.J. Finn." —Library Journal (starred review)
"[A] spine-tingling thriller...Lisa Jewell’s gripping novel Watching You unravels a tangled web of rumors—and a shocking twist." —Real Simple
“Eerie and bone-chilling…this page turner surprises and stuns.” —Woman's World Magazine
"A juicy new page-turner." —Brit+Co
“[A] crafty conundrum…the author smoothly juggles multiple story lines…prepare to be blindsided by the murder victim’s identity, not revealed until late in the game—and an even more stunning final surprise. Jewell does a masterly job of maintaining suspense.” —Publishers Weekly
“Jewell adeptly weaves together a complex array of characters in her latest thriller. The novel opens with the murder investigation and deftly maintains its intensity and brisk pace...Jewell's use of third-person narration allows her to explore each family's anxieties and sorrows, which ultimately makes this novel's ending all the more unsettling. An engrossing and haunting psychological thriller.” —Kirkus Reviews
"A master at unspooling tightly told tales, Jewell specializes in perfectly-pitched thrillers without sacrificing a drop of her characters’ complexities, secrets, and desires, and this latest one is no exception." —The Seattle Review of Books
"Jewell excels in creating complex characters, building tension and keeping readers in the darkyet riveted until the "Aha!" moments...this thriller unfolds and concludes in a very satisfying way." —Shelf Awareness