Bridget Collins is a superb story teller who crafts tales which blend history, folklore and interesting characters. The Naked Light is another great example of Collins' craft. Set in rural Sussex not long after World War 1, this novel explores the impact of the war on human lives through the eyes of a range of interconnected characters. Kit, a successful London based portrait artist, was invited post war to join her lover Portia working in a studio in Paris creating masks for men facially disfigured in the war. Portraits and masks become a recurrent theme of the story, closely linked to the chalk Face carved into the downs near the village of Haltington where most of the book is set. Local lore suggests that the Face protects the villagers from the 'thurlath', hungry faceless beings who search for faces.
Kit finds the realities of disfigurement unbearable and escapes to a run down cottage in Haltington, where she seeks solitude and solace but her life is plagued by nightmares of the masks and faces and she finds herself no longer able to paint portraits. The nightmare of the story is a slowbuilding presence throughout as the chalk Face becomes overgrown, potentially losing its protective power.
Florence has also found herself in Haltington, living with her widowed brother in law Horace and her adolescent niece Phoebe. Unlike Kit, Florence seeks companionship and has a somewhat ambivalent relationship to the Face. Her niece Phoebe, having lost her mother when she was 6 years old, is herself a lost soul, wandering through her life looking for meaning.
I really enjoyed reading this latest novel from Bridget Collins and thought she very cleverly addressed the many ways in which 'Peacetime' is anything but peaceful for the survivors of war.

This book was quite a surprise. Part love story, part Gothic/spooky horror and all wrapped into the plight of women at the end of the First World War. After finding a role supporting their country, they were suddenly surplus and there was a shortage of men so yet again, women were seeking ways in which to find their impending identity and place in a very changed society. The pace throughout is slow; it’s in keeping and saved by the fact that it’s very well written. It’s definitely a story to savour although I didn’t feel any of the characters were particularly likeable. There’s certainly a haunting element which is quite creepy and menacing in part. I found it very moving because of the real facts around the issue…to say more would be a spoiler and it’s a topic that’s not often covered in books or film but significant for those involved. Overall, I quite enjoyed the story and it’s probably a 3* for me, but I’ve raised that to 4 because if the quality and sensitivity of the writing which is superb.
My thanks to the publisher and Netgalley for a review copy.

A village reeling from war, an ancient chalk talisman left neglected and an unconventional connection between an artist and a spinster blend together in an eerie, compelling tale.

Bridget Collins has been a must-read author for me ever since I fell in love with The Binding. I love the way her narratives gradually unfurl leading you into compelling and immersive worlds. Stepping into Haltington, you can feel the insular atmosphere, the wariness of outsiders in a village that’s made smaller by the losses of the Great War. A place where superstition equals religion in importance, the supernatural features as a steady and persistent undercurrent, looming over everything through the Face, a chalk carving upon the down, steadily sliding into disrepair now its caretakers are gone.

Just as the setting lures you in, with the tension and foreboding encroaching from the edges of your vision like a fog, the relationship between the characters unfurls. There’s Kit running from her wartime work in Paris, Florence yearning for connection, their relationship is like a rock rolling over the downs, uncertain at first but gaining momentum with seeming inevitability. Then there’s Phoebe, moving through the story like a wandering spectre and the most attuned to the haunting darkness approaching.

Perfect for readers who love the subtle creeping of gothic tales, The Naked Light is a compulsive and uncanny read about human connection.

"They kept themselves safe from the faceless ones. They warded them off. Whereas now... now the faceless ones are not a metaphor at all. Now they are real. Real men, whose faces have been shot or torn or burnt away, by other men ... [loc. 1699]
The setting is (mostly) the Sussex village of Haltington in the aftermath of WW1. Florence Stock has come to live with Dr Manning, her widowed brother-in-law who's the vicar of Haltington, and her teenage niece Phoebe. Kit Clayton, home from Paris after a year or so of creating lifelike tin and enamel masks for facially disfigured men, has moved into the Bone House: not as macabre as it sounds, but the former home of the Bone family, now extinct.

Mrs Bone's sons all died in the War, and the old woman dies up on the downs, trying to fulfil her familial duty to the Face, which local folklore says protects the village from thurlath -- 'a wandering, hungry thing that resembles a man but is not a man. They are hollow in the sense that they have no soul, and hollow in the sense that they are hungry.' And they crave faces: they steal the appearance of a person. 'You will have noticed that there are no effigies in Haltington Church...' (That's from Dr Manning's self-published work on the mythology and folklore of the area.)

Incidental characters, such as Phoebe's teacher Beatrice, provide context for the plot, and the setting: only one girl in ten will marry, because so many men are dead. Women who worked during wartime are now at loose ends. Florence is excited to see men's shirts hanging on the line at the Bone House -- until she realises that Kit Clayton is a woman.

I've enjoyed Collins' other novels (especially The Binding) but this didn't work as well for me. Though there is a supernatural element, that aspect of the novel doesn't really bloom until the last third of the book. Florence's doomed love, Kit's solitary misery and Phoebe's smiling malice are vividly written but not especially cheering, and the focus remains very much on those three women -- which means that some plot threads, unwitnessed by any of them, are given only cursory resolutions. Some of the secondary characters feel superfluous, too, included only to explain an aspect of the plot. But there's a surprisingly, believably happy ending, and some truly scary moments along the way.

Thanks to Netgalley and the publisher for the review copy: UK Publication date is 25th September 2025.

The title comes from Eleanor Farjeon's poem Peace, which is quoted at the start of the novel:

Nations! whose ravenous engines must be fed
Endlessly with the father and the son,
My naked light upon your darkness, dread! -
By which ye shall behold what ye have done...

Thanks to NetGalley and the publisher for an advance copy of this book.

In the end I enjoyed reading this book but at one point I thought I would have to stop reading as I was finding it too disturbing. Early on in the book there is an awful sense of unease and oppression and the bit about Julian's mask in the tree (no spoilers) made me wonder if I would sleep that night. I did manage to put it out of my mind however and I am glad I carried on with the book because it is a very interesting story,

I was not aware of the masks made for the First World War wounded soldiers. I always like to learn something new from a book and I have looked it up since and find it a very moving thing..

I liked Kit and Florence and I think their relationship was well described. Phoebe is an awful, cruel child but, as you might imagine, she plays a vital role in events.

Quite often after the Face disappeared I wondered why people didnt just clear it again, I know legend said it had to be a Bone who tended it but surely it would have been worth a try for Florence or a villager to have had a go? Of course then there would have been no story and actually the final resolution is quite satisfying.

I liked the ending for Kit and Florence too and all in all found the book to be an absorbing read.

The Naked Light by Bridget Collins is an Atmospheric and richly descriptive novel set just after WW1.
Kit an artist has returned from Paris and works in a studio making masks for the disfigured men that have returned from the great war. Florence a spinster has come to live with her brother-in-law who is the local Vicar and his daughter Phoebe.
They both live in a Sussex village where supernatural dark forces roam.
When Florence meets Kit by chance. A relationship develops between them.
I really wanted to enjoy this more than I did. But I found the storyline in the first half of the book quite flat and I was expecting more of the supernatural element and not only the last few chapters, but the story was more about Kit and Florence relationship. To be honest I struggled through this. I wanted more but it just wasn’t there. 3 stars from me.

Sapphic love story meets folk horror in an England reeling from the aftermath of WW1. Set in the fictional Haltington village on the Sussex coast, two isolated women meet and form a fragile bond. Artist Kit’s newly returned from France where she crafted face masks for mutilated men back from battle. This experience has had a profound effect on Kit’s state of mind, the men’s wounded faces stirring terrifying, recurring nightmares. In Haltington, Kit’s short hair and androgynous outfits mark her out as somehow different, a source of fascination particularly for lonely, local spinster Florence. Consumed by fantasies of escape, Florence lives in the village vicarage with bored, teenage niece Phoebe and widowed brother-in-law Horace the parish priest. Looming over the village are the rapidly decaying remains of an ancient chalk carving dubbed Haltington Face said to ward off an equally ancient evil. Horace, who resembles a character from a story by M. R. James, dabbles in Sussex folklore. He’s obsessed by tales of the thurlath, a sinister, murderous creature which can assume human form, capable of inhabiting anything with a human likeness – the reason why the local church is devoid of images resembling people. Kit and Florence gradually develop a passionate but tentative relationship. However, this is threatened both by Phoebe’s increasingly malicious actions and the thurlath’s reawakening – no longer held in check by the Haltington Face.

Bridget Collins’s prose is more than decent and her story is clearly well-researched – although I’d have appreciated an afterword distinguishing between historical and fictional material, outlining sources and influences. But the plot and structure could be frustratingly uneven and the pacing unnecessarily slow. I found the abrupt switches from one character’s perspective to another’s, especially in the early stages, distracting, distancing me from the story. The folkloric elements often felt grafted on - they don’t really take off until the final chapters. Additionally, the love affair between Kit and Florence could tip towards stereotypes about doomed lesbians and sapphism as a substitute for lack of available, suitable men. After several will-they-won’t-they chapters, it didn’t help that the plot device that finally leads to Florence and Kit having sex is attempted rape. It’s also the second attempted rape in the novel – I still don’t understand the role of the first one in the overall narrative which makes me more than a little uncomfortable. And, for me anyway, the post-coital angst scenes were too numerous and too heavily underscored. So, very mixed reactions to this one. But, even though this didn’t really work for me, fans of Sarah Perry and/or Emma Donoghue’s historical fiction may well find it more appealing.

Rating: 2.5 rounded up

I went through a whole gamut of feelings whilst reading this book. and at one stage I didn't think I would finish it. I am very pleased that I continued and by the end felt relieved and pleased because it was a very worthwhile experience.

This book took me by surprise with its deliciously slow build-up of tension and an ever-present sense of unease. While I initially found most of the characters unlikeable, they gradually became more compelling as the story unfolded. The gothic atmosphere was rich and intriguing, complemented by the author’s poetic language.
The supernatural elements are introduced slowly and become more prominent in the final chapters, serving as a clever metaphor for the psychological scars left by the First World War.
Although I appreciated the tension and the artistry of the writing, I struggled to connect with the main characters or fully grasp their motivations. Still, the book left a lasting impression and I raced through it.

This is a well written story. I loved Phoebe, Kit et al. The superstitious elements were really interesting. I really, really enjoyed this book.
Bridget Collins’ gets better and better.
Thank you to Netgalley and the publisher for allowing me to read the arc. #Netgalley #TheNakedLight

Such a strange book! The concept of this book is amazing, the execution unfortunately did not entirely live up to it. But I would still recommend this book to historical fiction, magical realism, cozy (sapphic) romance lovers. It took me a while to figure out in which direction this book was headed, but I did like finding out. Eventually. The absolute beginning intrigued me and pulled me in right away. But after a couple of pages, the progression got really slow for me, and confusing, I couldn't even tell you the genre or explain what I was reading. I felt a bit bored until over half of the book and felt little excitement picking it back up. But I'm glad I did. The atmosphere and setting was really well done. The magic, the places, the characters, the time-period, it magic all felt real. I loved how folklore was woven into a story about war, love, sexuality, family, identity and most of all: faces. The characters were really interesting to follow and when the plot turned I really felt the tension. The writing is gorgeous. But despite all of this I think the plot could've been better paced and I would've loved for the magical realism to take a bigger part in the book. It is mentioned throughout the book, but really comes to light at the beginning and end. It really takes a back-seat during the middle/main part of the book and you wonder how relevant it still is which contributed to my confusion, even though it is the most intriguing part of the book, in my opinion.

War has ended but the impact is evident. For artist Kit she struggles to carry out her job painting masks for soldiers injured in the fighting. For Florence war has taken her sister from her, and now she is living with her brother-in-law and niece in a remote village.
The village of Haltington is like many rural English villages. Above the village is the Haltington Face, chalked into the land and thought to offer protection to those living in the area. The people of the village are superstitious, claiming the face must be preserved in order to keep the villagers safe. Unfortunately, war has taken away the Bone family who have curated the Face over the years and it is abandoned.
The book explores the developing relationship between Kit and Florence. Their interaction always felt rather stilted, and they cannot be open about their feelings. Convention wins out, but not before they are put under pressure by the impact of the supernatural elements circulating the village.
I wanted to rate this one higher - it’s a 3.5 realistically - but I found the supernatural elements to be rather undeveloped. The character of Florence’s niece, Phoebe, felt as if she should have been more pivotal to the story but her behaviour towards Kit later on made little sense. While I liked the relationship between Florence and Kit, it came from nowhere and I find it hard to believe either would have acted in the way they do given what they have shared. For me, elements of the story were interesting but they never really felt as if they combined clearly.
Thanks to NetGalley for giving me the chance to read and review this prior to publication.

The Naked Light is a haunting story of superstitions, dark spirits, and love.

After painting masks for injured WW1 soldiers, Kit runs away to the village of Haltington to recover and there meets Florence and Phoebe. The huge chalk face carved into the hillside looks over her new cottage, recently empty after the death of the last remaining Bone family member, the Face’s caretakers. As the Face falls into disrepair, dark spirits begin to force their way through, determined to feed their endless hunger.

Once I started reading, I didn’t want to put this down. It’s beautifully written and completely compelling. Bridget Collins has a way of writing that draws you in and keeps hold of you, especially as the story gets darker and creepier. The impact of the war is seen everywhere, from injured survivors and bereaved families to women stepping back from the roles they took on in the war.

The beginning was a little slow, with snapshots showing Kit’s journey to Paris and Florence’s relationship with her sister, but soon the tension starts to build and the pace picks up. The characters are all incredibly human, showing both their best qualities and their worst in equal measure. The romance was done very well, and although the ending for them wasn’t what you’d normally expect, I was pleased with how it was left.

This is a great read and I would recommend it to anyone who enjoys folk horror and dark historical fiction.

Thank you to NetGalley for the advanced copy.

A beautifully haunting blend of gothic romance, post WWI grief, and creepy folklore, it is a slow burning but deeply atmospheric book. Set in a rural Sussex village watched over by a mysterious chalk face, Collins weaves together themes of trauma, identity, and healing through the lives of three complex women.
Her elegant prose draws you in gently, before the supernatural undertones and emotional weight truly take hold. Yes, the beginning takes its time but once it gets going, it hooks you. Expect quiet dread, masked faces, forbidden longing, and moments of genuine creepiness. I found myself closing all curtains when it was dark in case the Face could see me!
I do wish we had a bit more about Phoebe, she was genuinely chilling.

Faces!This new slightly creepy story by Bridget Collins is all about faces -what we see,what they mean to us,how we are judged by our own and how we judge others,It’s very clever.
Set after WW1,we are introduced to Kit who has a job in Paris painting masks for disfigured soldiers. Scene change to rural England and Kit now lives alone in Bone Cottage where the previous family looked after the chalk face on the nearby hill. Kit meets Florence,a lonely vicar’s daughter and they fall into a secret,compulsive relationship.
There are moments that are very unsettling especially towards the end of the book where relationships and horror merge but these are short lived and despite not particularly liking gothic stories I did enjoy this.The writing is eloquent and Kit especially is memorable.What stood out for me however was the exploration of the masks,something I hadn’t come across before.
My thanks to NetGalley and the publisher for this ARC

I loved this book. I found it a wonderful read. I finished it in one sitting. I couldn’t put it down. I loved the characters and the world building. I really felt It flowed great and really had me loving every chapter

I loved this book so much that I stayed up all night to finish it. Such a good story to get lost in. Please put this on your tbr.

A brilliant read. Five stars. Thank you to the author, publisher and NetGalley for the chance to read an ARC,

Another winner by Bridget Collins, another twisty and dark story that kept me hooked and on the edge.
Great world building, solid and well researched bistorical background, excellent storytelling
Highly recommended.
Many thanks to the publisher for this ARC, all opinions are mine

I love folk horror and hope that the thandrells are based on an actual legend - I will be looking into his as it’s a fascinating idea for a small, isolated village. The sapphic romance feels honest - to the point where we are shown the worst feelings from each POV, the selfish and the spiteful.

The slow burn doesn’t just apply to the romance, the horror also builds slowly but is genuinely creepy, as well as unique when it does happen.

This is bold and unflinching - the themes of the futility of war, grief and superstition are woven throughout the imagery of the stark countryside and Kit’s struggle to capture it in her paintings. There is also a deeper meaning involving masks and the faces that we choose to show to each other.