THE MIDNIGHT NEWS

Challenges—mental and physical—mark the two young Londoners who find each other during the shattering horrors of the Blitz.

British writer Baker has set her eighth novel in familiar territory: the early years of the Second World War when the Germans bombed the British capital relentlessly. Her version is distinguished by her characteristic qualities of empathy, detail, and insight as well as her fragile central figure—20-year-old Charlotte Richmond, the daughter of a baronet, who has abandoned her class and moneyed background to work a menial job at the Ministry of Information while living in cramped digs in an unfashionable suburb. Charlotte’s perspective dominates, but it may not be reliable given her history of mental instability—“a spell in the loony bin”—and the voices in her head, which multiply as her friends lose their lives in the raids, along with the fear she’s being followed by a murderous “shadow man.” She finds some small comfort, however, in a slowly developing relationship with Tom Hawthorne, a sympathetic, physically disabled young psychology student. As matters progress, Baker spins Charlotte’s life and brain into a whirlpool of loss, danger, suspicion, and amateur detection, resulting in her family’s sending her back to the mental hospital. Her incarceration there, a terrifying episode, heralds a change of gear in the story, embracing escape, safe houses, traitors, and the eventual revelation of a scarcely credible villain. With its evolving genres—from realism to gothic to thriller, laced with a burgeoning love story—the plotline becomes unsteady. Baker’s readability and sensitivity retain their appeal, and the (literal) grit of the blasted London streets, softened by flavorsome Englishness—Chelsea buns, Iced Gems, tea cozies, chin-wags—lends immediacy, but the late, more one-dimensional thread of dastardly conduct threatens the novel’s solidity.

A powerfully atmospheric evocation of World War II complicated by its shifts between tracks.