The Glass Room (Vera Stanhope 5)

join in, to be almost as cruel as the rest of them. Throwing insults as if they were rocks.
    A sudden noise brought her back to the present: wood splitting in the fire, sounding loud as a gunshot in the silence.
    ‘Ssh,’ Miranda said. ‘You don’t know who might be listening.’
    I’m listening, Nina thought, relishing her role as observer. Oh yes, I’m certainly listening. It occurred to her that Vera Stanhope would be proud of her. Then she heard the door shutting and assumed that both people had left the room. She got up quietly and looked inside. The space was lit by a single standard lamp and Miranda was sitting in a chair by the fire. Her eyes were closed and tears ran down her cheeks.
    By the time Nina had replaced her coat, scribbled some ideas for her story in a notebook and returned to the drawing room, it was filled with people. Miranda was talking to Giles Rickard, one of the tutors. He was an elderly novelist with a red nose, a large shambling body and arthritis. His crime fiction was superficially gentle and rather old-fashioned, though it contained moments of malicious wit. His detective was a Cambridge don, a mathematician. Rickard had had a late burst of success when a television readers’ group had picked one of his books for discussion, and now he regularly appeared in the best-seller lists. Nina thought it was rather a coup for Miranda to have attracted him to teach on the course. He wore a perpetual air of surprise as if he couldn’t quite believe that fame had come to him at last. With the students he could be occasionally waspish and demanding, but he’d taken to Nina.
    ‘You write well,’ he’d said when they’d first met in the house, so she’d assumed that he must have got hold of one of her recent books, and that in itself had endeared him to her. And perhaps Chrissie would persuade him to give a blurb for the next title. ‘You’ll see, my dear, it could happen for you too. But success isn’t all it’s cracked up to be, you know. You give up a good deal.’ She’d wondered what a man like him could have to give up. He’d never married, had no family. Privacy perhaps. Or leisure. But surely he could turn down the speaking engagements and the book tours. Why, for instance, had he agreed to spend this week at the Writers’ House? It couldn’t be that he needed the money.
    Now he waved at her across the room. Miranda, still speaking to him, seemed not to notice. Nina made herself camomile tea and went to join them.
    ‘What are your plans for the rest of the evening?’ Nina’s question was directed at Miranda. In her room she’d looked at the programme. Ferdinand had been scheduled to lecture on the editorial process in the time before dinner.
    Miranda showed no sign of her earlier distress. The tears had been wiped away and fresh make-up applied. ‘We had a good idea about that. I’ve asked Mark if he’d give us a talk on the crime scene and the role of the CSIs. It would fit in nicely with the writing exercise you set today. What do you think?’
    Nina paused. ‘I do wonder if a lecture on true crime might be a bit close to home. Rather lacking in taste?’
    ‘We’re all thinking about poor Tony’s murder,’ Miranda said, ‘even if we’re too tactful to discuss it. I don’t suppose a lecture on the subject will upset anyone, especially as poor Joanna was something of a stranger in our midst. We seem to have very thick skins here.’
    Nina saw that was true. The only person who’d shown genuine emotion at Ferdinand’s death had been Miranda herself, and it seemed she could switch that on and off at will. She was astonished that Mark Winterton had agreed to speak to them. Perhaps Miranda had bullied him into it, because he’d always seemed a shy and retiring man.
    His lecture, however, was surprisingly entertaining, and he seemed to come to life talking about his work. He began by explaining the process of securing a crime scene. The students were more attentive than Nina had seen them – certainly more focused than when she’d been speaking on literary matters – and she found herself fascinated too. What was it about the ex-policeman’s talk that intrigued and even titillated? Why this bizarre interest in the process of managing the crime scene? Because, like crime fiction, it gave violent death a shape and a narrative? It turned an inexplicable horror into a process, into people’s work.
    Winterton’s voice was pleasant and light. ‘The first