The Lamplighters

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as a lover of classical music, I cannot fail to mention the “ghost opera” The Lighthouseby Sir Peter Maxwell Davies, which reinterprets the mystery as a

Helen is touched by his dedication and says, “‘That’s a lot of work.’” Dan replies, “‘Yes, it was. I finished it. I know more than I did before. But as for knowing what happened on that tower, Helen, I’ll never be certain of that. I’m not foolish enough to think that I might. There are a hundred endings, maybe there are more.'”

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explanation to their disappearance. Twenty years later, a writer of nautical fiction decides to write a book Beautiful, absorbing and utterly riveting, The Lamplightersis a hymn to loneliness, to the sea, and to the stories we allow ourselves to believe when we are alone. I treasured every moment of this dazzlingly accomplished and completely unforgettable novel.” –Rosie Walsh, author of The Love of My Life They appear as she remembers them, and Helen realizes that time has not aged them in her heart. Helen and Jenny exchange a wave, and she feels a sense of connection and understanding with them. Yes, I’d agree with that interpretation. It’s something I did want to explore while writing. The novel is told from multiple first-person perspectives to heighten the sense of apartness and miscommunication: much of the sadness in the story could have been avoided if those involved had spoken transparently. Ultimately, The Lamplighters’ characters stand in isolation from each other, as do the sea towers. The emphasis is on the importance of lighting the light, reaching out, and guiding those we love home.

It isn’t an easy feat to take a true historic event and transform it into a gripping, suspenseful mystery, but the author has done just that. Told with the help of dual timelines and multiple characters, including the three men and their partners, the story gave a fascinating insight into the daily life of one of history’s most romantic professions: that of the lighthouse keeper. Be warned that Stonex will dispel any illusions of an idyllic lifestyle on small islands or in the middle of the sea. Having hosted such romantic notions myself, I was surprised by descriptions of the austere and regimented lifestyle of the lighthouse keepers as they spent many weeks cut off from isolation in their concrete towers, sending out warning signals to passing seafarers. It was a pleasant surprise to also get the perspectives of the wives and partners they left behind on land, tending the homes and children whilst their men were absent for prolonged periods of time, missing many of the special occasions that normally mark our routines: birthdays, Christmases and other family affairs. This was much more engaging, and this must be down to the narrator. She did the accents superbly and the personalities shone through. The characterisation is excellent: the men and their wives/girlfriend are captured perfectly. Even shadowy Trident (which runs the lighthouses and shouldn't be confused with Trinity House) is a character in its own right. I was stunned by the plot: the clues were all there but I was still uncertain about who was responsible for the disappearances until the very last moment. The book comes with the highest possible recommendation and I'd like to thank the publishers for letting Bookbag have a review copy. The impossibility of knowing a person fully is also a theme. Do I know what this man or woman I love is truly capable of? Is there a darker side? Perhaps even tending toward violence? Does solitude exacerbate untoward symptoms of dysfunction? Will loneliness and the absence of communication send grief spiraling toward a violent destination? These are all questions that Stones explores, probing the behavior of people who don’t understand their frailties, their absolute limits. As they talk, Helen reflects on the mystery of the disappearance and the different perspectives it holds. They both understand that the truth may never be known, and they accept that some mysteries are not meant to be solved.

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As a debut novelist, I wondered if I could ask you to recommend to our readers a few debut novels you have enjoyed recently?

The ending of The Lamplighters has been the subject of much discussion and debate since the book’s release. Readers have been fascinated by the mysterious disappearance of the three lighthouse keepers and have been eager to understand what really happened to them. An author long intrigued by the mystery is interviewing the women the lighthouse keepers left behind: Helen, still hopeful for closure and peace; Jenny, a bitter mother consumed equally by grief and guilt; and Michelle, who wishes that her boyfriend’s tarnished name could someday by cleared. Through these interviews, long-buried secrets and personal tragedies are uncovered, filling in some of the gaps in the old story. I mean, honestly! I’m sure you’d prefer that, but I’m afraid it’s all ridiculous. We’re not in your world now, we’re in mine; and this isn’t a thriller, it’s my life.” Inspired by real events, The Lamplighters by Emma Stonex is an intoxicating and suspenseful mystery, an unforgettable story of love and grief that explores the way our fears blur the line between the real and the imagined. Normally when people come on, they know they’re not part of it. This is our world they’re in, so they have to toe the line… But there’s an unnatural feeling about Sid. I can’t say what. His voice is high-pitched for a bloke and for someone that big; it’s not entirely like a woman’s, but not far off. It doesn’t sit on him, like it doesn’t belong to him…Sharks are] cool torpedoes of blubber, sliced at the gills, equipped with teeth. Fat and teeth, that’s the thing. Needles in a bowl of curd.’

Bill was struggling with his marriage and felt that he needed to get away from his wife. Vince had been struggling with his identity and felt that he needed to start a new life as a woman. You have received some excellent criticism on your writing style, including the description of your work being ‘ pitch-perfect’, as your ‘ descriptions of the damp, briny, windowless interior of the Maiden, the shifting seas, the choking fogs and sudden, unnatural sounds, are simply breathtaking; and, like all the best literary writing, they don’t halt the action, they lift and propel it.’ How have you found the experience of being a debut novelist, and how did you go about refining your writing style? Helen mentions that they try their best to make a difference, to keep the lights shining in the darkness. This sentiment encompasses both the literal lighthouses and the figurative light that people try to bring into each other’s lives. My process has always been to show up to the work every day. Beyond that, everything is subject to change. But having the discipline to sit down with my novel, even if I don’t feel like it, even if it’s only for fifteen minutes, even if I’ve got a million other things going on, is what keeps me going. Otherwise, the book starts to feel intimidating, and once that happens it can be hard to take control of again. I need to show it who’s boss and remind it that I’m in charge – even if I don’t feel like I am.

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The narrative I would describe as a little strange, the perspective of the three women tends towards 'stream of consciousness' where we get a mix of history, opinion and perception drip-fed to us the reader to generate the mystery. In these moments there isn't a lot of grounding prose, dialogue is rarely captioned, and descriptions are heavily in the POV of the character.