The Clockmaker’s Daughter switches frequently between different time periods and points of view, some of the latter being introduced for the first time quite a long way into the book.  The first person narrator referred to in the book description as ‘a woman who stands outside time’ may require the willing suspension of disbelief by some readers; others will find it intriguing and inventive.  I enjoyed this narrator’s mischievous nature whilst at the same time feeling an empathy with her evident underlying sadness.   

In the depiction of the group of friends who arrive at Birchwood Manor in 1862, the author conveys the insular atmosphere of an artistic community, full of petty rivalries and jealousies.  (I was reminded of Agatha Christie’s Hercule Poirot mystery, Five Little Pigs, and Ngaio Marsh’s Inspector Alleyn novel, Artists in Crime.)  There’s a sense of simmering discontent that may boil over at any moment.  When it does, it’s in a quite unexpected way and with far-reaching consequences .

Appropriately given its title, the book makes frequent reference to the passing of time. ‘There was no going back. Time only moved in one direction.  And it didn’t stop.  It never stopped moving, not even to let a person think.  The only way back was in one’s memories.’  Timing devices have significance as well.  At one point, a character remarks, ‘There was no clock inside the studio.  There was no time.’  Another character recalls a grandfather clock whose ‘tick-tock’ sounded louder at night, ‘counting down the minutes, though to what he was never sure; there never seemed to be an end’.  

The book also explores the idea of a sense of place, epitomized by Birchwood Manor which sits at the centre of a web connecting it to the different characters to varying degrees.  The melding of past and present is another recurrent theme.   For example, the book refers to a character entering the house and feeling that they were ‘stepping back in time’.  At another point, Birchwood Manor is described as being like ‘a Sleeping Beauty house’ as if just waiting for someone to reawaken it.   

From my point of view, The Clockmaker’s Daughter marks a return to form for Kate Morton as I really liked The Secret Keeper but didn’t get on at all with The Distant Hours (which is still, I’m afraid, sitting unfinished on my bookshelf).  Although the author has delivered another chunky book and the multiple timelines and points of view demand a good deal of concentration from the reader (a few more reminders of the time period in the chapter headings would have helped), it has a great sense of atmosphere and the unfolding of the mystery is skillfully intertwined with the stories of the various characters.   Edward Radcliffe’s sister, Lucy, observes at one point, ‘a story is not a single idea; it is thousands of ideas, all working together in concert’.  There are certainly a lot of different ideas and narrative strands in The Clockmaker’s Daughter but, on the whole, I believe they do all work together in concert to create a satisfying read (perfect for autumn/winter nights, by the way).

In The Clockmaker’s Daughter, narratives spanning the years from 1862 to 2017 are woven together, anchored around the fascinating Birchwood Manor, the site of a mysterious murder and theft of a precious heirloom. Family secrets intertwine through the years, overlooked by a mysterious woman whose fate is tied to the house.

I thought this was a wonderful novel, excellently plotted, giving up secrets at just the right time.

I found the story a little difficult to get into at first, but really enjoyed it once the main narrative strands were established. It was great to become very involved in one strand and then more onto another, where the narratives started to overlap and secrets were revealed.

Due to the number of main characters, and the fact that Birchwood Manor acts as the main character, some characters weren’t explored as much as others, so I wasn’t so invested in all the narrative strands and it felt at times that I was reading more for plot than character.

The writing flows well, with beautiful descriptions of the house and surroundings, giving a very strong sense of place.

I would recommend this to anyone who enjoys historical mystery and intrigue.

I have always enjoyed previous books by Kate Morton but I must admit I did struggle to finish this. It was too long and had so many characters. It also flitted back and fro through the ages, that at times I had to think where I was in the story. There is a mystery surrounding the murder and theft and the events leading up to it are slowly revealed. I received a copy and have voluntarily reviewed it. All thoughts and opinions are my own.

I am always completely hooked by Kate Morton's books. Even though I know what the likely outcome will be for some of the characters, I am always drawn into the world that she creates.

"Sentimentality [is] mawkish and cloying, where nostalgia [is] acute and aching...it describe[s] yearning of the most profound kind: an awareness that time's passage could not be stopped..."

Except, presumably, in fiction. Morton's work, whether sentimental or nostalgic, uses a formula that works: a mystery, a wrong that needs to be set right, a big house with its own secrets, a focus on the lives of women across generations. It's part historical fiction, part mystery and all of these novels have the pace of a thriller. The books - though formulaic - magically work their way under the skin. That's not to say there are no surprises. There are twists and turns and also some fabulously inventive writing. One such moment occurred early in the novel where the reader was allowed to hear the inner monologue of a satchel under the weight and history if its contents. That might sound odd, but it worked.

Each woman's story in this particular case is deftly and richly told and then is ultimately woven together, like a great tapestry.

We start with a mysterious character in an old house and who is recounting stories from the past. We discover more in the present-day about this woman and the various allegations that were made against her. There are some allusions made within this story to The Titanic and more than a passing nod to the artist Rossetti. Next up is our main character: Elodie, a clever archivist with her own interesting family history, who is struggling with an interfering soon-to-be mother in law and a relationship that just doesn't seem to be working. Other female narrators are then introduced, with wonderful parallels drawn between each of them.

Yes, this is slightly longer than some of Ms Morton's other books but it's well worth it.

Many thanks to NetGalley, Pan Macmillan, Mantle and Kate Morton for an ARC of this book in exchange for an honest review.

I was looking forward to reading The Clockmaker’s Daughter as Kate Morton’s The House at Riverton and The Secret Keeper are two of my favourite books, but I’m in two minds about it. Whilst I loved parts of it I struggled to read other parts, bogged down by the many changes of time, places and characters, even though I like complicated plots and dual time-lines. It could easily have been made into several books.

I found it difficult to separate the various strands and to create a coherent whole – and it is so long and drawn out. And then there is the supernatural element, which intrigued and delighted me. So, all in all, my reaction is confused and mixed, so much so that at times I wanted to give it 5 stars and then plummeted right down to 2 stars – hence the 3 stars!

It’s richly descriptive and I loved the descriptions of the locations, and of Birchwood Manor, the house on the bend of the river and the story of how Elodie searches to find the history and connections between the satchel, the photograph of a beautiful Victorian woman and an artist’s sketchbook certainly caught my imagination. I also loved the story of Birdie, the clockmaker’s daughter, who is the catalyst for the disaster that befell Edward’s life.

There are multiple narrators very gradually building up a history of Birchwood Manor and the people who lived there over the years up to 2016. But it’s hard to keep track of them all as the narrative jumps backwards and forwards so disjointedly. The connections between what seem to be separate stories eventually become clear – but you have to keep all the separate strands in your head and remember who is related and how their paths meet and diverge.

As the synopsis says it is a story of murder, mystery and thievery, of art, love and loss – all of which appeals to me. And I’m sure plenty of other readers will love this book. It’s a book that I really needed to concentrate on, which is not a bad thing, but for most of its 592 pages it moves at a snail’s pace and I found it an effort. But once you have got to the end and can see the whole picture it really is a good story; very cleverly plotted, maybe too cleverly for me.

An intriguing mystery that spans several decades. The answers are gradually revealed from the perspective of different characters, including a spirit, and the conclusion is both satisfying and frustrating.
Whilst I appreciate Morton is setting the scene and introducing us to one of the main characters, I found the opening chapters a little too slow. - but perhaps that was my own impatience in wanting to discover and unravel the fundamental elements of the mystery.
This didn't grip me as much as some of Morton's other writing but I did enjoy it nonetheless.

I wasn’t expecting to enjoy this book much, I thought it was going to be chick-lit. However, I found myself looking for extra opportunities to pick it up and read a bit more. The winding together of all the different stories was very well done. I’d not be averse to seeking out more books by this author. A really enjoyable read.

Birchwood Manor attracts people – they feel curiously soothed and comforted by it. This is the story of the mysteriously ‘welcoming’ Birchwood Manor, which has a strange familiarity to many of the characters from their own family bedtime stories. It also holds the secret to a shattering day in 1862 where an idyllic Summer ends abruptly for an artists’ community.

Edward Radcliffe finds the house he stumbled across during a traumatic event in his childhood, which then offered him peace and sanctuary. He buys it and invites his friends and little sister to share a convivial summer there. Lily, his muse who is also present is a rather sad character; having been robbed of her childhood when she fell into the care of a cold, greedy woman who sends her (and other ’unwanted’ children) out to steal and pickpocket each day. Edward and Lily’s affection grows.

Stories at the house take place at various dates – the 1860s and the ‘Magenta’ artist community, later when the house becomes a girls’ school, the 1920s – and a private individual’s investigations of the fateful events of 1862; 1940s wartime and the London family (ancestors of the present day character, Elodie) that move after their home is bombed and the present day when we meet archivist, Elodie Winslow. She finds a forgotten, unarchived box at work in a storage area. Inside is a hauntingly familiar picture of a lovely house, together with a satchel and a picture of a beautiful woman; An individual called Jack is also at the lodge of the house, unknown to Elodie he is trying to trace the mysterious ‘Radcliffe Blue’ diamond pendant which vanished on the day of the murder.

As well as a haunting, gothic feel to this book is the affinity you feel for the well described characters; particularly the 3 main women – Lily, Lucy, Edward’s little sister and Elodie. You want Lily to tell her story, Lucy to achieve her promising future and Elodie to ‘grow’ emotionally.

It’s a great ‘curl up on a Winter’s evening’ type of book (though it takes longer than one!) A fascinating trail of events, all linked through the different stories and characters. The fate of the ‘Radcliffe Blue’ diamond and that of the suspected protagonists of the violence on that day in 1862 is muddied by those protecting the reputation of the murder victim; the events are never properly investigated leaving the most convenient solution as the accepted version. But the house has secrets to reveal…

I have liked books by Kate Morton in the past but I found this very slow to get into - it took me a whole week to read it. Once I was two thirds through the pace did improve and I wanted to see how it all came together.

There were too many story lines for me which did come together in the end but I felt as though you had to be focusing to keep on top of them.

The story has Birchwood Manor at its core - a place with magical properties - which draws people in. You become immersed in the trials and tribulations of the Radcliffe family and those linked to them across the generations.

An epic story in many ways covering murder, mystery, theft, secrets and lies as well as a fantastical element.

I have enjoyed all Kate Morton's books and was delighted to receive a pre publication copy of The Clockmaker's Daughter. As usual Kate Norton nails her location, Birchwood Manor, an old house set on the Thames, beautifully. Her characters are also relatable - I especially liked Lily/Birdie.

I didn't much like the choice of title because the book is about so much more than the clockmaker's daughter. Birchwood is the character that hovers over this Gothic tale of a Victorian artist, his family and group of friends in earlier timelines and Elodie in the resent day who discovers a photograph which leads her to Birchwood and the eventual uncovering of a tragedy which took place there.

The Clockmaker's Daughter is a complex read, with many characters and switches in timeline, so not for the fainthearted but with autumn/winter on the horizon a great book to spend a cold weekend with. Many thanks to NetGalley and PanMacMillan for the opportunity to read and review it.

I have read a few of Kate Morton’s books and always enjoyed them. This is no exception. The writing transports you to all the times involved in the story and grips you in their moment. However whilst it is a very long story I felt that the ending didn’t finish it well and left some unanswered questions and a feeling for me anyway of sadness for Birdie. The only section that I didn’t enjoy so much was the section about the family in the house in WW2. It just didn’t evoke the period as much or make me feel empathy for those involved. I would have loved to hear more about both Ada and also why Elodie’s mum went there. I would recommend this book highly but felt the ending let it down slightly

When Elodie discovers a satchel at work containing a picture of a beautiful woman, little does she know how her search to find out who the mystery lady is will lead her to discover secrets closer to home. In The Clockmaker's daughter Kate Morton switches between various narrators and intertwines stories from the 1800s to the present day but they all have one thing in common, Birchwood Manor. What secrets does the manor hold within its walls and will Elodie be the one to finally let them out?
Kate Morton has written a beautiful tale of mystery and intrigue and I thoroughly enjoyed each and every one of the different tales told throughout the book. Truly capivating.

It's the classic Kate Morton formula of past meets present with various threads intelocking in the 'theme of the week/novel' type formula. This time Morton has upped the word count. At times it feels laborious but as it hurtles though it's final third and the pieces come together, you'll find yourself hooked.

Another winner.

A house that slowly yields its secrets.

Elodie Winslow, a young archivist, living in London, unearths an old satchel, the contents of which start her on a journey taking her back 150 years. Her research involves a house that in some strange way she feels she has a personal connection with. The one person who is a key to all the mysteries is Birdie Bell, the clockmaker’s daughter, who is now a spirit, living in the house and watching as all the events of the past start to unfold.

This is a story of murder, mystery, the art world, love and loss. It darts backwards and forwards over the years with not one story but several that finally link up at the end.
This is a formula that might work for some, but I found a little tiresome. The jolting from one era to another is jarring. No sooner did you become involved with one storyline than the narrative takes a completely different tack into another set of characters and another time. It is really about several stories that make up one long book. Each story is written in great detail and rich in the background but pulling all the strands together in the final chapters is done very abruptly, and this proves unsatisfactory after the long read.

Kate Morton has certainly done her research, and the many varied topics that are covered are all written with authenticity, but the detail often gets in the way of the storyline and in bringing the main characters to life. At the start, Elodie Winslow seems to be the heroine but no sooner do we become involved in her story than another begins and so on and so forth. The main narrative is also presented by a spirit who moves through time, and this renders the whole thing rather hard to believe.

Followers of Kate Morton, who are familiar with her genre, will probably enjoy this book. Others will find it tough going with too many distractions.

Jane

Breakaway Reviewers received a copy of the book to review.

While I appreciated the slightly pedantic writing style, which is especially suited to the historical chapters, I became so confused by the plethora of characters that I became irretrievably lost. Sorry not for me.

I enjoy reading Kate Morton’s book, and, for me, this is the best so far.
The idea of a house, built on a bend in the river, on an ancient site, where sanctuary is available when most need is at the core of this magical book.

Birdie Bell is a Victorian woman, the clockmakers daughter, who by various misadventures becomes the muse to an artist, Edward Radcliffe. She spends the summer of 1862 at his country house, Birchwood Manor, with his bohemian friends where events happen which challenge and change many lives, and have an effect on future generations.

Elodie Winslow is an archivist in the present day, who finds a satchel containing some of Edward’s sketches of the manor, and a photograph of a Victorian woman. She feels connected to the house, and wants to investigate it further.

Other, seemingly unconnected, characters are drawn to the house in the 1860’s, 1920’s, wartime, and their journeys and lives all intertwine with Birdie and Elodie.
All these narrators have their own voices, and along with the voice of Biride, they bring the threads together in the most satisfying way.

It’s difficult to say more without spoiling the intricacies of the plot, but I would happily recommend this book to anybody.

Thanks to Netgalley, and Pan Macmillam for the opportunity to read this book.

What a fantastic story which brought the present to the past in a skilfully woven series of interconnected threads that took me all round the houses and back again until they all finally came together. Elodie is the spark that sets it all off when she discovers a box in an old archive belonging to James Stratton. In it, she discovers a sketchpad and a leather satchel containing an old photo. On further investigation, the sketchpad contains drawings of a place that she remembers her deceased mother telling her about in her bed-time stories. Intrigued by this connection and wanting to know more, she starts to delve further into the archives, calling upon people to help her in her quest. But as she starts to peel back the layers of mystery that surround the events of the past she is shocked and surprised at what she finds.
A bit of a tip for you first. This book is long, there is a lot going on and there are a lot of major characters whose voices need to be heard and we flit between quite a few time periods. With this in mind, I would really recommend that you pencil in a bunch of time to really allow yourself to fully immerse yourself in the cleverly crafted world and story woven around it. I made the mistake of reading it in fits and starts initially but realised that method wasn't working for me so I paused my reading and restarted the book on a weekend when I had a lot more time to devote to it. Once I did this, I found it much easier to follow and managed to engage better with what I was reading.
That said, even doing this, the book was overly busy and, at times, I felt it was trying to be too clever and, in doing so, lost some of its appeal. They say that sometimes too much IS too much and this is a bit of an example where less could have been more. I say this as I fear that it may lose readers along the way but what I'm also trying to get across is that if you do get through it, if you do manage to stay with the plot and keep the massive cast in order, and keep your wits about you, you will be rewarded at the end.
Being honest again, once I did eventually finish the book, I did feel like I had run a marathon. I was a bit exhausted which did nibble into my satisfaction at the book's conclusion. I'm not the biggest fan of books that make me work hard and this one definitely put me through my paces. It's my first book by this author and my main conclusion after reading it is that maybe we are not well suited. Even though at the end of the day it was a good story, well worthy of the four stars I have given it, the effort I had to make to get through just wasn't as pleasant an experience as I would have preferred. My thanks go to the Publisher and Netgalley for the chance to read this book.

I found this book really hard to get into, definitely not my favourite book of Kate Morton’s.

The book tells the story of Lilly Milington a ghost living in Birchwood Manor, and Elodie, a young woman who’s mother told her favourite girlhood tale about the house

Spanning 3 time periods and multiple characters I found it quite hard to keep track, although the writing is beautiful the story was hard to follow.

For all the potential merits of this author, this is one of those books where you end up reviewing the editor – and not only when you get proofs where one character dies off the coast of Portugal, only for it to then happen in Italy further down the very same page. No, these pages – all 600 of them – give us far too much, and yet hide things. Such as… what company even is this where our heroine can be in the archive department, one with its own in-house magazine for her to write for? How, if she has such a male harridan of an author, can she have such miraculously flexible work-hour arrangements? And who on earth passed a lead character with such a clunky name?

Yes, Elodie (purely and simply Melody without the M for mother, as her world-famous cellist mater died when she was young) finds something at work that she shouldn't – or perhaps very much should. This something leads her and us back to a Victorian-era love triangle at a country house Elodie has bizarre levels of memory and knowledge of, and she's not alone in her family with that skill. Meanwhile the book soon gives us the fact that alternating chapters are written by the house ghost – all the while it plods on and on pretending it's not a basic love triangle, even when we all know it is.

Alright, it's more than that – but it is a seriously over-egged pudding. There is enough here for a welter of books, and I partly admire that and partly hate that it was all crammed between two (far-too distant) covers. The length and breadth and depth of it all end up with me leaning towards the impression that this is a pastiche – of a certain type of late gothic ghost house story. The fact that it boils down to a semi-Turn of the Screw, mixed with more than a bit of Atonement, doesn't help there. But however intriguing the premise, the fact remains that to combine both volumes into one does not demand you write something longer than both put together. This was enjoyable on some level – it did survive the skim-reading and skipping I would have assumed likely – but boy it was frustratingly over-long.

So looked forward to reading this latest book from Kate.

I found it a slow burner. Interesting enough to keep me reading and wanting to find out more.

Not my favourite book from this author but would 'recommend to her avid fans