When We Meet Again

Description

An emotionally compelling tale of love and mystery set in the publishing world of World War II London, When We Meet Again tells the story of a mother searching for her stolen child, and illustrates the unbreakable bonds among families, lovers, and readers under the shadow of war.

London, 1943: War and dwindling resources have taken their toll on the book publishing industry, but Alice Cotton, a young editor at Partridge Press, has seen her star begin to rise. She has a knack for creating new books to distract readers from the grim realities of the war. And the demand for books is greater than ever, both on the battlefield and on the home front. But just as her hard work seems poised to pay off, Alice unexpectedly falls pregnant.

Facing the stigma of being an unwed mother, Alice flees to a small town to give birth to her child, Eadie, whom her family has promised to help raise. Instead, her mother sells the newborn to “baby farmers” who plan to give the child up for a private adoption. Alice begins her desperate hunt to find the daughter she never planned for but suddenly deeply loves.

Alice’s story intertwines with that of Theo Bloom, an American editor tasked with helping Partridge Press overcome the publishing obstacles of the war. Theo and Alice are quickly drawn to each other during their darkest hours, bound by hope, love, secrets, and the belief that books have the power to change lives.“Books about the power of stories to bring people together and nourish their spirits are my favorite kind. So it was with much joy that I read When We Meet Again, a wonderful tribute to all things bookish. But it is also a compelling exploration of a heartbreaking and little known aspect of wartime life. The research, compassion and sensitivity poured into novel are admirable and make for a deeply affecting reading experience.” –-Natasha Lester, New York Times bestselling author of The Paris Secret

“[A] deeply compelling wartime tale of love and mystery.”–Woman’s World

“Beecham pulls off a thrilling conclusion and elevates the story with some well-researched context on the publishing industry during the war, when demand for books was high. Fans of sentimental WWII fiction will fly through this.”—Publishers Weekly

“Character-driven with the impending doom of war looming, When We Meet Again delivers a softly paced mystery with a dash of hope and romance to keep readers rooting for Alice when outlooks look dim.”–Booklist

“Movingly rendered. . . The characters are likeable [and] the charms of daily life in 1943 London, seen through the kindhearted Theo’s eyes, make up for any weaknesses in realism. The unusual subject of baby-farming makes this well-told story stand out.”–Historical Novel Review

“A compelling story of a determined young woman and her quest for justice set against the fascinating world of publishing–and even a zoo–during World War II.”—Rhys Bowen, New York Times bestselling author of The Tuscan Child

“When We Meet Again is a poignant and absorbing novel about a young woman editor personally devastated by the historically true practice of “baby farming” during World War II-era London. Caroline Beecham’s emotional and beautifully written story is a testament to the enduring power of a mother’s love and to the power of books and stories themselves, in even our darkest times.” –Jillian Cantor, USA Today bestselling author of In Another Time and Half Life

“”By turns heart-pounding and heart-tugging, When We Meet Again is a dramatic story of baby farming in WWII-era London. Following a mother searching for her stolen daughter, Caroline Beecham’s writing, rich with historical detail and filled to the brim with emotion, will pull readers in from the very first page.” –Molly Greeley, author of The Clergyman’s Wife and The Heiress

An evocative and heart-warming story that reminds us of everything that is important.”–Belinda Alexandra, author of The Invitation and The Mysterious WomanCaroline Beecham is the author of four historical novels. She studied the craft of novel writing at the Faber Academy in Sydney, with Curtis Brown Creative in London, and has an MA in film and television and an MA in creative writing. She lives in Sydney with her husband and two teenage sons. When We Meet Again is the first of her novels to be published in the United States.Prologue

Brighton, 18 March 1943

Alice woke with a start, seagulls screeching from the gabled rooftop. The dawn-glow bled through uneven curtains, illuminating the white wicker crib that stood only a few feet away. She was curled on her side at the very edge of the bed, eye-level with the crib, which sat beside the splintered paintwork of the windowsill.

Her lips curved into a smile. She needed to nurse Eadie now, just as the midwife had shown her the day after the birth. Alice tried to ease herself up onto one elbow, but her limbs were so weak with tiredness that her arm wouldn’t support her, and she collapsed back onto the pillow. Everything was so tranquil; Eadie must still be sleeping—​this most precious time preserved—​and all Alice could hear was her own breathing. It was clear that no one else in the guest­house was awake.

Her lips twitched into a half smile as she wondered if her daughter would always be so calm when she slept; her mother had told her that she’d snored like a grown man.
Alice pushed herself up again, trying to ignore the soreness and discomfort as she carefully swung her legs around and levered up with both hands. With eyes alight, she beamed in anticipation as she tilted forwards, ready to see her newborn, her face hovering over the crib—​but when she looked down, it was empty.

Her eyes flashed wide in horror, staring unblinking at the wrinkled cot-sheet and white crocheted blanket flung over the sides.

The sound of traffic intruded from the road outside as the clock hands carried on their twin journeys, and several moments passed before Alice regained the capacity to think, running her fingers across the place where Eadie’s tiny swaddled body had lain.

It was stone cold.

Was her mind playing tricks on her? Could she be hallucinating, even though they had refused her any pain relief?

No, she could feel it in each aching tendon and the viscera of her body, in the thickness of her womb. Eadie had been born weeks early; Alice’s mother hadn’t arrived by the time the baby came squalling into the world, so her aunt had taken charge, calling the doctor. He had stitched Alice with unsympathetic detachment before telling her to rest, and that any questions should be saved for the nurse who would come the following day.

Her aunt had been on hand, helping with hot water and the constant supply of towels, until the other guests complained there was no supper on the table.

That was it: her aunt must have taken Eadie downstairs.

Alice relaxed as she gathered the white crocheted blanket between her fingers and lifted it to her nose, breathing in her daughter’s scent.

Then she saw the handwritten note.

I’m sorry, Alice, but this really is for the best.

She recognised the handwriting.
 
One

London, November 1942—
​Five months earlier

The baby’s face was scratched and dirty, the blanket barely covering its pale unwashed skin. But the haystacks looked as if they could provide some warmth and comfort, as did the Three Wise Men standing nearby—​even though one was missing his head. Alice stared at the nativity scene a fraction longer, a smile broadening her lips as she gazed at the infant, fear and excitement blooming inside her.

Shopfronts glistened with Christmas decorations and seasonal greetings, the frosted windows strewn with multicoloured tinsel and sprigs of holly, handmade decorations and signs: defiant gestures by Londoners determined to get on with their lives. Alice wished she had time to stay a while longer, but she had to hurry; it was Monday morning, so they would all be assembled for the weekly meeting, and she would make the speech that she’d been practising for some time.
More shops and offices were opening as she hurried by, their entrances and doorways crowded with the morning rush. She carried on past a line of steam-filled cafes, only slowing when the storefront of W.H. Smith & Son came into view. A sign above the entrance read, blacked-out evenings—​take home some books, and a familiar poster stood propped against the end of the bookstand:

IMPORTANT
Newspapers and Magazines Supplies to order only.
The only way to make sure of regular supplies is to give a standing order for all newspapers, periodicals and magazines required, whether these are to be delivered or bought over the counter.
Please give your order NOW.

Alice buttoned her coat as she read, trying to even out her breath, the brutal sting of cold air reawakening her nervousness over what she was about to do. There was no time for second thoughts now, no chance to turn back the clock, so she placed her hand protectively across her belly and carried on into Russell Square.

Above the dark slate roofs, the firewatchers’ platforms and terracotta chimneys, a reluctant winter sun struggled through a sullen sky and the city grew more orderly. Alice headed south towards a Gothic building flanked by taller neighbours, trying not to step on the cracks between the paving stones as she ran through her speech one more time.

The old five-storey building creaked as it welcomed her inside. Since the entrance hall was empty, she stood and looked longingly around: at the substantial glass lantern overhead, still hanging obstinately despite the bombing raids; at the black-and-white tiled floor with its worn oriental rug, and the two wingback chairs either side of the buffet table. An oversized mirror hung above it, reflecting the vase of cascading silk flowers. On the opposite wall, an imposing carved Victorian coat stand resembled an upended fishing vessel full of coats, hats and umbrellas, with Nelson’s leash dangling at one end; he was her employer’s black Labrador.

She dropped her belongings at her feet, heart hammering in her chest, grateful no one was there to see her dishevelled state. She’d caught her reflection in a shop window: her dark-blonde hair frizzy in the damp air, navy eyes ringed red with tiredness. Her mother was right, she did need more sleep. For her and the baby’s sake.

Her colleagues had told her that lots of people had once milled about in the entryway to Partridge Press: agents, delivery boys, a visitor from one government department or another, or a journalist on the scent of a story about one of their writers. Their offices had once been in Paternoster Row in the heart of the city, until a tragic night in December 1940 when their building and seventeen other publishing offices had been destroyed, larger ones like Hutchinson, Longman and Blackwood included. The firms had moved to locations around the British Museum and further west, the event uniting the industry as publishers lent each other office space in a show of solidarity. That was when she had joined Partridge, and she still tried hard not to imagine the collective loss of books and artworks. Her company had lost thousands of works and illustrations, and most of their steel and copper engraving plates and woodcuts, and they were still struggling to recover.

She took another long sweep of the hallway, trying to quell her fear as she remembered the day nearly two years ago when she’d stood in this exact spot, an administrator with little knowledge of the industry. How welcoming they’d been, and how like a family they’d become.

On the left of the entrance was the closed office door of the managing director, George Armstrong-Miller, his name engraved in bright gilt script. On the opposite side was the office of his son, Rupert, one-time financial controller and now an engineer in the Royal Air Force. His image, in full uniform with a teasing half smile and a mass of dark hair, commanded attention from his portrait beside the door; his expression was the one that always beguiled people, its playful immaturity making him seem harmless and charming. That look had drawn her in, made her trust him, and given her the ill-conceived idea that she was protected here. When she took a step backwards his eyes seemed to follow her, just like when they’d first met and he’d always kept her within his sight. He’d never hidden what he thought of her or been too shy to show it.

Alice averted her eyes and tried not to think of him as she hurriedly backed away, trying to focus on what lay ahead as she recovered her things and climbed the staircase.

The third-floor editorial department was accessed from a helter-skelter of stairs, with uneven landings pivoting off in all directions. It always felt to Alice as if she were stepping off a fairground ride to be propelled through small doorways, their brass handles far too low down. She held on to the handrail and planted her feet firmly as she climbed, striving to ignore the growing tightness in the pit of her stomach as she passed the production department on the first floor, with its unmistakeable chemical reek, then accounts on the second floor.

On the third floor she stood outside the boardroom for a moment to steady her breathing, worried her rapid heartbeat and flushed cheeks might give her away—​just as Nelson had, scratching at the bottom of the door.

Alice unbuttoned her coat, letting it fall loosely around her hips, and turned the handle. The door opened into a large wood-panelled room where a meeting was underway, and they all turned to look at her. George was at the head of the grand mahogany table in a haze of cigarette smoke; Tommy Simpson, their bald-headed production controller, was seated at his side; and Emily Dalrymple, the non-fiction editor, was at the other. Ursula Rousson, the fiction editor, had her back to the door, a brightly patterned scarf tied around her neck and her chestnut hair tousled into a hairstyle every bit as unorthodox as her personality. She swung round to look down her nose at Alice, then tutted good-humouredly. ‘Good morning, Alice,’ she said, smiling warmly.

‘Come in,’ George said, motioning at the seat next to Ursula. ‘You haven’t missed anything, although I was just saying that we do have some important discussions to get through.’

Nelson greeted her with his wet nose, and she bent down to scratch his neck. ‘I’m sorry I’m late. The bus was so crowded I had to wait for the next one.’ She quickly looped her bag and gasmask over the back of the chair before she sat down, gathering her coat self-consciously across her lap.

‘Can’t be helped,’ George replied in his gravelly voice, ‘and you’re here now.’ He smiled broadly as he leaned back in his chair, lifting his elbows as he smoothed back his wisps of hair with both hands.

He was the youngest of the two sons in the publishing family, and he had a gregarious and generous nature. He’d given Alice an opportunity, ignoring the gaps in her education as if he already knew what other powerful men didn’t—​that thousands of young women like her around the country were completely unqualified for the roles war had chosen for them but immensely capable, nevertheless.

He leaned abruptly forwards, resting his arms on the desk in front of him, which reminded her where Rupert got his habit of fidgeting from. ‘Actually, we started early because there have been some developments. Tommy, why don’t you fill Alice in?’

The boardroom had formerly been a morning room, its ornate light-fittings and oversized windows allowing in plenty of light as well as providing glorious views over Russell Square. Spread across the vast table were several editions of Bomber Command and The Battle of Britain, their eye-catching covers featuring images that had become all too common in recent months: the faces of actual pilots—​the real heroes of the empire—​not fictional characters. In the six months following its release by the Ministry of Information, The Battle of Britain had sold nearly five million copies to become a surprise bestseller, and none of them—​not Penguin nor Hutchinson nor any of the other major book publishers—​had been able to replicate the success.

‘Rumour has it they’re planning a new one on minesweepers,’ Tommy said, leaning across the table to push the latest edition towards her.

‘You can imagine the drama and intrigue in that one,’ Emily said, raising an eyebrow.

‘The truth is, we can’t really compete with the Ministry anymore,’ Tommy said, sounding glum. ‘We need some big new ideas of our own.’

George stood and moved over to the window, leaning his shoulder against the architrave, hands thrust into his trouser pockets as he gazed out onto the grass square.

The others glanced at one another, waiting for him to speak, and Tommy offered cigarettes from a smart leather case. Only Ursula accepted, and as Alice watched him light it for her, she desperately hoped the smoke wouldn’t nauseate her now as it had started to. She’d been lucky with her pregnancy so far, only developing a deep distaste for fish and eggs, and since they were both difficult to get hold of it hadn’t been too much of an inconvenience—​but most of her co-workers smoked.

George turned to face them. ‘The public’s appetite for books is still growing across all genres, but we don’t have the resources to try anything new, that’s the maddening thing. Tell them, Tommy.’
‘Our paper ration has been reduced again.’ He waited for their collective groan to end. ‘And since it takes one ton of paper to produce three thousand books—​’

‘Only if they’re two hundred and fifty pages long.’ Emily clearly wasn’t willing to be outdone.
‘Well, yes, that’s right,’ he said. ‘But it still means we can’t publish as many titles as in previous years. We’ll be lucky if we get five non-fiction and ten fiction books out of our paper stocks this quarter, and that means we can only produce two new titles.’

‘It’s difficult to take risks with only two new titles,’ Ursula said, with the trace of her eastern European accent.

‘Precisely,’ George agreed.

The knot in Alice’s stomach tightened; this really wasn’t the day to be telling them that she was leaving, when what they needed were winning new ideas. The public were reading more than ever in shelters and in their homes during blackouts, as were the troops and voluntary services as they waited, and yet here was the publishing industry without the means to produce more books.
Tommy said, ‘You all know the new rules, that we don’t get the paper ration next year unless we get the book sales this year. So, we can’t really afford to take risks. We need certainty, and to give booksellers titles they can sell.’

‘Well, that means more crime and romance then,’ Emily said confidently.

‘If we want to play it safe, it does,’ Ursula replied.

The Bookseller published a weekly chart of the bestsellers and the most borrowed books, and they included Agatha Christie, Ernest Hemingway, Daphne du Maurier, Graham Greene and Victor Gollancz, as well as the propaganda bestsellers that the Ministry of Information produced.

‘What about children’s books?’ Alice suggested. ‘Apparently Five on a Treasure Island is proving popular.’

‘It’s just novelty,’ Emily scoffed. ‘It’s not going to last. Do you seriously think anyone is going to be interested in reading about what four children and their dog get up to in the school holidays?’
‘I don’t know,’ George said thoughtfully, ‘I really don’t, but we need to try something.’

‘Maybe we should publish new fiction,’ said Alice. ‘We could take a chance on some new writers. It would be more economical, wouldn’t it?’

‘I like how you’re thinking, Alice,’ said Tommy, ‘but now is not the time to be launching authors.’
‘All right, then maybe we should relaunch the classics,’ Emily said. ‘Our most-loved authors, like Penguin did.’

George sighed. ‘Yes, the backlist would have been the answer, if we hadn’t lost all the plates in the bombing.’US

Additional information

Dimensions	0.8000 × 5.4600 × 8.1800 in
Imprint	G.P. Putnam's Sons
ISBN-13	09780593331156
ISBN-10	059333115X
Author	Caroline Beecham
Audience	General / adult
BISAC	FIC019000, FIC044000
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