THE RETURN a fairly simple idea for a novel. Arthur Lawford, an average man recuperating from a long fight with influenza, wanders into a churchyard and falls asleep next to a gravestone. On returning home after his nap, he discovers that his features have changed and he no longer resembles his own photograph. As he struggles to understand his situation and claim his identity (his wife and friends doubt his story, despite his being able to answer any questions they have of his past), he begins to find evidence that he now resembles the scandalous Frenchman, Nicholas de Sabathier, whose gravestone he napped near, an amorous, Rousseau-like rogue who died a suicide. As his family's doubts mount, who can Lawford turn to? What's interesting about this book is that it doesn't take a direct, DOCTOR JEKYLL & MR. HYDE-type approach to its story of (possible) possession. There isn't much action, and Lawford doesn't struggle against the cackling evil ghost of a hundred-years dead scoundrel. Instead, the book is very reflective and internalized, as we are privy to Lawford's thoughts and psychological distress, mostly over his situation. At first, only his aged vicar and his daughter really believe in him, and things start to go awry as his personality subtly changes (or is this just the expected reactions to stress?). His wife, whom he assumes to be a lynchpin of solidity, accepts his story only at first and as society's disapproval (of her housing a strange man while her husband is "ill") grows, she quickly folds and abandons him. Taken in by some interested, newly acquainted friends (Herbert Herbert and his sister Grisel), he finds out more about Sabathier and also falls in love with Grisel. But even this seeming triumph is laced with conflict and loss. I can't imagine that everyone would enjoy this book. It's brooding and methodical and those looking for a more modern type of "horror classic" will be sorely disappointed by a distinct lack of action. But it is a very powerful, if sad and moving, book. If you like the literature of the 19th and early 20th century and are interested, you should check it out. It's worth noting that The Penguin Encyclopedia of Horror and the Supernatural refers to de la Mare's prose as "less accessible" (than his poetry) and I did find it is somewhat "challenging" in longform. His dialogue - which may have been an attempt to capture the actual speech patterns of his chosen social class of characters - seems meandering, abstract and circuitous at times. It's not as dense and hard to crack as, say, Henry James but I had a similar reaction to THE RETURN as I did reading Thomas Pynchon - it takes a little bit of exposure before the rhythm of the writing really sinks in. Also, I imagine THE RETURN, which is fairly short, might go down better all in one sitting instead of piecemeal,