A Field Guide to Mary Stewart's Romantic Suspenses
Monday, November 27, 2017
Stewart introduced a different kind of heroine for a newly emerging womanhood. It was her 'anti-namby-pamby' reaction, as she called it, to the "silly heroine" of the conventional contemporary thriller who "is told not to open the door to anybody and immediately opens it to the first person who comes along". Instead, Stewart's stories were narrated by poised, smart, highly educated young women who drove fast cars and knew how to fight their corner. (Guardian)
| Title | Location | Note | |
| Madam, Will You Talk? | 1954 | Provence | |
| Wildfire at Midnight | 1956 | Skye | ritual sacrifice; mountain climbing |
| Thunder on the Right | 1957 | Basque Country | evil nuns; amnesia |
| Nine Coaches Waiting | 1958 | Thonon-les-Bains, France | Basically Jane Eyre |
| My Brother Michael | 1959 | Delphi | |
| The Ivy Tree | 1961 | Northumberland | double identities |
| The Moon-Spinners | 1962 | Crete | murder! kidnap! windmills! birds! |
| This Rough Magic | 1964 | Corfu | dolphins; The Tempest |
| Airs Above the Ground | 1965 | Austria | dancing horses |
| The Gabriel Hounds | 1967 | Lebanon | drugs; disguise; ickily incestuous romance |
| The Wind Off the Small Isles | 1968 | Lanzarote | novella, reissued 2015 |
| Touch Not the Cat | 1976 | Malvern Hills | telepathy |
| Thornyhold | 1988 | Scotland | witchcraft(?); 1940s |
| Stormy Petral | 1991 | Moila | more birds; protagonist writes SF under pseudonym of 'Hugh Templar' |