The Hanging in the Hotel

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As the taxi entered the gates, Jude looked up at Hopwicke Country House Hotel, a monument to nostalgic pampering. The mansion had been built in the early eighteenth century by George Hopwicke, a young baronet who had increased his considerable inheritance by ‘the successes of his plantations in the West Indies’, or, in other words, by his profits from the slave trade. The main building was a perfectly proportioned cube, the ideal echoed in so many late twentieth-century developments of ‘exclusive Georgian town-houses’. The elegantly tall windows on the three floors at the front of the house looked down from the fringes of the South Downs, across the bungalow- and greenhouse-littered plain around Worthing, to the gunmetal glimmer of the English Channel.

Stabling and utility buildings were behind the house, neatly shielded by tall hedges. The hundreds of acres in which George Hopwicke had built this testament to his taste and opulence had been sold off piecemeal for development over the centuries, and at the beginning of the twenty-first century only a four-acre buffer protected the upper-class elegance of the hotel from the encroachments of the ever-expanding English middle classes, and from the encroachments of the present. Even the brochure said, ‘Leave the twenty-first century behind when you step through our elegant portals.’

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