Mary Stewart, a renowned novelist, provided insights into her creative journey and thematic preoccupations in an article she wrote for The Writer in 1970. Her early novels serve as a testament to her exploration of various literary forms and her desire to inject realism into conventional narratives. By infusing her plots with real-life scenarios and everyday characters, Stewart sought to transcend the limitations of genre conventions and engage readers on a deeper emotional level.

Early Works and the Rejection of Convention

In Stewart's view, her first five novels were "exploratory," as she experimented with different forms and genres. Her debut novel, Madam, Will You Talk?, was a chase story embodying traditional thriller elements with its plot revolving around fate-driven love. Wildfire at Midnight (1956) took the form of a classic detective story, but Stewart grew dissatisfied with the genre's overemphasis on plot over character, describing conventional detective stories as treating "pain and murder" as mere entertainment. With Thunder on the Right (1957), Stewart experimented with third-person narration for the first and only time, ultimately preferring first-person narration for its ability to foster reader involvement and identification with characters. Stewart's adept use of this narrative style became a hallmark of her writing, enhancing the vividness and personal engagement her novels are known for.

Stewart's novels consciously sought to dismantle certain genre conventions that alienated readers. Her aim was to insert "real people" with "normal everyday reactions to violence and fear" into scenarios often reserved for larger-than-life heroes. Her characters, ordinary yet intelligent individuals, could be driven to perform extraordinary acts of bravery in defense of their values, thus making traditionally bizarre situations more relatable and engaging.

Nine Coaches Waiting: A Gothic Tale

The themes of Stewart's early works are prominently featured in Nine Coaches Waiting (1958) and My Brother Michael (1960). In Nine Coaches Waiting, a gothic reinterpretation of the Cinderella story, Linda Martin becomes an English governess to a young noble in the remote chateau. As she navigates love and duty, the novel’s main themes emerge as Linda prioritizes the boy’s safety over her romantic interests. The suspense is maintained through classic elements like surprise revelations and thrilling chases, with clever subversions such as a villainess inadvertently revealing her guilt through sleepwalking and a romantic red herring misleading readers. Linda embodies Stewart's typical heroine—modest, resourceful, and brave.

My Brother Michael: A Grecian Adventure

Similar characteristics are found in Camilla Haven, the protagonist of My Brother Michael. Her humorous self-deprecation and initial incompetence with driving in a foreign land make her relatable. As danger looms in Delphi, she rises to the challenge with courage and resilience. Her counterpart, Simon Lester, typifies Stewart’s male heroes—confident, composed, and kind. Unlike typical romantic heroes, Simon becomes embroiled in violence not out of choice but necessity, reflecting Stewart's rejection of heroes who effortlessly embrace violence. His observations on the Greek peasantry reveal his liberal ideals and empathy, epitomized by his memorable line, "I think that most things can be forgiven to the poor."

The Greek landscape plays a significant role in the narrative, where Stewart's evocative descriptions of Delphi and Parnassus create a rich atmosphere. She captures the timelessness of the land, augmenting the story with a sense of the divine and ancient. Classical allusions are interwoven throughout, with the climax centering on a statue of Apollo. The thematic parallels with Aeschylus's Oresteia reinforce the novel’s exploration of vengeance and justice.

This Rough Magic: A Shakespearian Ode

Building on the successful formula of My Brother Michael, This Rough Magic (1964) relocated the setting to Corfu and drew literary inspiration from Shakespeare,...