coercive-control | Judith Barrow

Part Two of The Stranger in my House is set against what is now called the Winter of Discontent – A term that comes from Shakespeare’s play Richard III, but it was used in an interview by the then Prime Minister James Callaghan and was taken up by the media. It lasted between November 1978 to February 1979 in the United Kingdom and, following opposition from the Trades Union Congress (TUC), took on the form of widespread strikes by both the private and public sector. Trade unions demandied pay rises greater than the limits Prime Minister, James Callaghan, and his Labour Party government imposed in an effort to control inflation.

It was also the coldest winter in sixteen years. Heavy snowfall and freezing temperatures disrupted transport, businesses, and energy supplies.

In January 1979 (between the 1st and the 14th), some 20,000 railwaymen held four one-day strikes. There were strikes by haulage drivers, petrol tank drivers, and eventually municipal workers – 1,250,000 of them organised a one-day national strike on 22 January 1979.

The most notorious incident was the grave diggers’ strike on Merseyside, which hit the headlines with the press vilifying trade unions for their lack of sympathy with the bereaved, and, it was argued, with the needs of the nation.

But it was a strike by refuse collectors that came to symbolise the complete breakdown of UK public services. Local councils rapidly ran out of storage space as the binmen continued to strike, so rubbish was left in streets and open public spaces instead.

Photo by Evening Standard/Hulton Archive/Getty Images)

A gripping ‘cuckoo in the nest’ domestic thriller

After the death of their mum, twins Chloe and Charlie are shocked when their dad introduces Lynne as their ‘new mummy’. Lynne, a district nurse, is trusted in the community, but the twins can see her kind smile doesn’t meet her eyes. In the months that follow they suffer the torment Lynne brings to their house as she stops at nothing in her need to be in control.

Betrayed, separated and alone, the twins struggle to build new lives as adults, but will they find happiness or repeat past mistakes? Will they discover Lynne’s secret plans for their father? Will they find each other in time?

The Stranger in My House is a gripping ‘cuckoo in the nest’ domestic thriller, exploring how coercive control can tear a family apart. Set in Yorkshire and Cardiff, from the 60s to the winter of discontent, The Stranger in My House dramatises both the cruelty and the love families hide behind closed doors.

“Judith Barrow’s greatest strength is her understanding of her characters and the times in which they live.” Terry Tyler

Grateful for this reader’s review. One of the first for The Stranger in my House, when it was published in November 2024.

Received the book today and finished it in the one sitting!

Judith Barrow’s done it again! The Stranger in My House is a book that showcases her renowned credentials. The characters are superbly drawn, the tension grows steadily and with each turn of the page your heart is gripped by the dilemmas facing the young protagonists, twins Charlie and Chloe, and their well-intentioned father. As with The Memory (shortlisted for Wales Book of the Year) it’s the way Barrow takes the ordinary and everyday, that we recognise and identify with, and skilfully uses her eye for human behaviour to turn it into something that becomes a nightmare we can readily believe in.
The story begins in 1967 and over the following decade the sense of time and place is expertly done without being intrusive. At the core of the tale is coercion and the reader can see how cleverly the others are being manipulated by the woman who undermines them and shatters their family bonds. My dislike for Lynne and her son Saul built with the book’s momentum. There was that fear that they would get away with unimaginable cruelty and malice. To counter that, were those whose innate love and kindness provided a heartwarming buffer.
From the start, I was gripped and that grip tightened inexorably. It’s becoming a cliché to say that you couldn’t put a book down – but I couldn’t. I had to know what was going to happen next. It mattered. That is the hallmark of a great author.

I love writing about people – especially people in families. There is such a richness of emotion, of action, within families. Nowhere else will love and loyalty vie with dislike and disloyalty, (even hatred in some case), pride with resentment, happiness with complete sadness. Nowhere else are human beings so close.

With The Stranger in my House, I wanted to explore a situation that would completely turn around the characteristic of a family. And I knew that needed to be something drastic. And that the family had to have a weakness within it it. And that weakness in the Collins family was grief, the sadness of losing the mother, the centre of their world. The father Graham is still grieving, bewildered, struggling to cope with running a business and trying to look after his children, eight-year-old twins, Chloe and Charlie.That “something drastic”; the situation that would completely change the characteristic of this family arrives in the form of Lynne, the district nurse who cared for Anna, the wife and mother of the family, who died when the twins were six. Lynne continued to call on Graham after Anna died and slowly but surely becomes part of his life… and consequently of the twins lives, when she and Graham marry.

I’ve always known about coercive control, although that’s not what it’s been called until these last few years. But it’s always been the patriarchal control, the accepted head of the family situation of past times, I was initially aware of. The earliest of my books, A Hundred Tiny Threads the prequel to the Haworth trilogy, is set after WW1 and the protagonist’s father, Bill, is a man of that era; he totally controls the family: by his moods, his temper, his fists.

But these days control of any sort is identified as coercive control, and it’s recognised that this can result in psychological damage that can last for life. It’s difficult, sometimes, for the victim to make sense of what’s happening, to see it as abuse. It’s like imprisoning someone, restricting everything they are. They are robbed of their independence, and their confidence is slowly undermined. It destroys who they are.

Anyone can be guilty of being a coercive controller. And guilt is the right word, because, today, it’s viewed as a crime. To totally have control over another adult human being is a crime. It’s shown in so many ways: physical assault, threats, humiliation, intimidation or other abuse intended to harm, punish or frighten. The perpetrator gaslights the victim by denying things have happened, using the confusion to control, criticising everything they do and say. Victims suffer in silence.

Which is what Graham in The Stranger in my House does, he tells no one, feels completely useless. Isolated, he has no control over what happens to his children or his life.
And neither do his children.

But children grow up. Chloe and Charlie become young adults with minds of their own…