The Collector
by John Fowles

Frederick Clegg Character Analysis

Frederick Clegg is a lonely and unattractive young man who works as a city clerk before winning the lottery. Although he becomes a member of the upper class overnight, Clegg feels that his newfound peers disrespect him. The only upper class person he does not despise is Miranda, who he decides to kidnap and hold hostage. In kidnapping Miranda, Clegg does not believe he is doing anything wrong. Rather, he feels as though he genuinely loves her and wants to give her the chance to see what a great person he is. In general, Clegg lacks self-awareness, though he is highly intelligent in some areas. In particular, he is a skilled amateur entomologist, and he is incredibly sharp when it comes to ensuring he does not get caught for his crimes. Among his many eccentricities, Clegg has a complicated relationship to sexuality. He is somewhat interested in sex but also thinks it is dirty and immoral. Clegg dislikes people who engage in sex outside of marriage and is not looking for sex from Miranda. However, on the other hand, he is not morally opposed to drugging Miranda and taking nude pictures of her against her will to use as blackmail. Clegg is a deeply immoral man but always finds ways to justify his behavior, which often includes blaming others. To make matters worse, Clegg never learns his lesson or gets his comeuppance at the end of the novel. Instead, he hides Miranda’s body and begins stalking Marian, who he thinks about kidnapping.

Frederick Clegg Quotes in The Collector

The The Collector quotes below are all either spoken by Frederick Clegg or refer to Frederick Clegg. For each quote, you can also see the other characters and themes related to it (each theme is indicated by its own dot and icon, like this one:
Power and Control Theme Icon
).

Part 1 Quotes

The only times I didn’t have nice dreams about her being when I saw her with a certain young man, a loud noisy public-school type who had a sports car. I stood beside him once in Barclays waiting to pay in and I heard him say, I’ll have it in fivers; the joke being it was only a cheque for ten pounds. They all behave like that. Well, I saw her climb in his car sometimes, or them out together in the town in it, and those days I was very short with the others in the office, and I didn’t use to mark the X in my entomological observations diary (all this was before she went to London, she dropped him then). Those were days I let myself have the bad dreams. She cried or usually knelt. Once I let myself dream I hit her across the face as I saw it done once by a chap in a telly play. Perhaps that was when it all started.

Related Characters: Frederick Clegg (speaker), Miranda Grey
Page Number and Citation: 4-5
Explanation and Analysis:
Here, Clegg reflects on his intense feelings towards Miranda, the art student who is the object of his obsession. Clegg is deeply infatuated with Miranda and his emotions veer from admiration to resentment. The quote highlights his extreme sensitivity to any perceived competition for her affection. The “loud noisy public-school type” with the sports car represents a social world and confidence that Clegg lacks. This man, who casually jokes about money in a way that Clegg finds distasteful, symbolizes everything Clegg feels excluded from and inferior to. The sports car and the man’s demeanor are representations of a lifestyle that Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium e

That was the day I first gave myself the dream that came true. It began where she was being attacked by a man and I ran up and rescued her. Then somehow I was the man that attacked her, only I didn’t hurt her; I captured her and drove her off in the van to a remote house and there I kept her captive in a nice way. Gradually she came to know me and like me and the dream grew into the one about our living in a nice modern house, married, with kids and everything. It haunted me.

Related Characters: Frederick Clegg (speaker), Miranda Grey
Page Number and Citation: 14
Explanation and Analysis:
This quote illustrates Frederick Clegg’s ability to distort and rationalize his thoughts and actions. The transition in his dream from rescuer to captor reveals a deep-seated conflict within him: he simultaneously wants to protect and possess Miranda. This duality highlights his inability to distinguish between love and control. His belief that he can keep her “captive in a nice way” demonstrates a dangerous delusion, as when he goes on to kidnap her, he convinces himself that his actions are benign and even justified. The evolution of the dream into a domestic fantasy shows his yearning for a conventional relationship, though Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. V

I could go on all night about the precautions. I used to go and sit in her room and work out what she could do to escape. I thought she might know about electricity, you never know with girls these days, so I always wore rubber heels, I never touched a switch without a good look first. I got a special incinerator to burn all her rubbish. I knew nothing of hers must ever leave the house. No laundry. There could always be something.

Related Characters: Frederick Clegg (speaker), Miranda Grey
Page Number and Citation: 21
Explanation and Analysis:
Here, Clegg is describing preparing his house for when he kidnaps Miranda. Throughout the novel, Miranda will often insult Clegg’s intelligence and while Clegg is lacking in formal education, he is not a stupid man. Here, his actions show that he fears losing control, as he does everything to ensure Miranda cannot escape him. Clegg’s extreme measures highlight his awareness of the risks of even the smallest oversight. Additionally, his insistence that “nothing of hers must ever leave the house” reflects his desire to completely isolate Miranda from the outside world, maintaining absolute power over her. It also is an Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut al

“You know who I am. You must know my father’s not rich or anything. So it can’t be ransom.”

It was uncanny, hearing her think it out.

“The only other thing is sex. You want to do something to me.”

She was watching me. It was a question. It shocked me.

Related Characters: Miranda Grey , Frederick Clegg
Page Number and Citation: 33
Explanation and Analysis:
Clegg has just kidnapped Miranda. In this passage, Miranda logically deduces Clegg’s motives, which sheds light on the psychological dynamics of her captivity. By eliminating ransom as a motive, Miranda is forced to confront the possibility that Clegg wants to sexually assault her, which she knows she is especially vulnerable to as a woman. This confrontation is not just about her immediate physical safety but also about the broader implications of male dominance and control. Miranda’s ability to articulate her fears and directly question Clegg disrupts the power dynamic, momentarily shifting control to her as she forces him to confront Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi nece

She often went on about how she hated class distinction, but she never took me in. It’s the way people speak that gives them away, not what they say. You only had to see her dainty ways to see how she was brought up. She wasn’t la-di-da, like many, but it was there all the same. You could see it when she got sarcastic and impatient with me because I couldn’t explain myself or I did things wrong. Stop thinking about class, she’d say. Like a rich man telling a poor man to stop thinking about money.

I don’t hold it against her, she probably said and did some of the shocking things she did to show me she wasn’t really refined, but she was. When she was angry she could get right up on her high horse and come it over me with the best of them. There was always class between us.

Related Characters: Frederick Clegg (speaker), Miranda Grey
Page Number and Citation: 39
Explanation and Analysis:
Here, Clegg is reflecting on the class dynamics that are constantly at play in his conversations with Miranda. Clegg observes that despite Miranda’s vocal disdain for class distinctions, her upbringing is evident in her mannerisms and speech. Her refined behavior and condescension when he fails to meet her expectations reinforce his feelings of inferiority. Clegg’s analogy—comparing Miranda’s admonitions to stop thinking about class to a rich man telling a poor man to forget about money—suggests that he has thought about this issue far more than Miranda gives him credit for. She thinks his interest in money comes from greed when Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis.

I took the photos that evening. Just ordinary, of her sitting reading. They came out quite well.

One day about then she did a picture of me, like returned the compliment. I had to sit in a chair and look at the corner of the room. After half an hour she tore up the drawing before I could stop her. (She often tore up. Artistic temperament, I suppose.)

I’d have liked it, I said. But she didn’t even reply to that, she just said, don’t move.

From time to time she talked. Mostly personal remarks.

“You’re very difficult to get. You’re so featureless. Everything’s nondescript. I’m thinking of you as an object, not as a person.”

Related Characters: Frederick Clegg (speaker), Miranda Grey
Page Number and Citation: 58
Explanation and Analysis:
Here, Clegg describes taking photos of Miranda, which seems mundane but also reflects his desire to capture her image, which is another form of control. When Miranda reciprocates by drawing him, the power dynamic momentarily shifts. Her decision to tear up the drawing before Clegg can see it is a way for her to reassert her autonomy and disrupt his sense of control. Additionally, Miranda’s remarks while drawing—particularly her comment about Clegg being difficult to capture because he is “featureless” and “nondescript”—show how she has dehumanized him in her mind. By thinking of Clegg as an “object” rather than a Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectet

She just looked at me.

“Ferdinand,” she said. “They should have called you Caliban.”

Related Characters: Miranda Grey , Frederick Clegg
Page Number and Citation: 62
Explanation and Analysis:
This is something Miranda says to Clegg after he frustrates her due to his lack of interest and understanding of art. It includes references to the novel’s most important intertextual reference: Shakespeare’s The Tempest. In Shakespeare’s play, Ferdinand is the noble and handsome prince who falls in love with Miranda, the daughter of Prospero. He represents virtue, love, and the promise of a hopeful future. On the other hand, Caliban is depicted as a brutish creature who Prospero enslaves and Miranda despises. Caliban embodies the darker aspects of human nature, including lust, anger, and a desire for dominance. By addressing Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asp

As I said, I never had any nasty desire to take advantage of the situation, I was always perfectly respectful towards her (until she did what she did) but perhaps it was the darkness, us walking there and feeling her arm through her sleeve, I really would have liked to take her in my arms and kiss her, as a matter of fact I was trembling. I had to say something or I’d have lost my head.

You wouldn’t believe me if I told you I was very happy, would you, I said. Of course she couldn’t answer.

Related Characters: Frederick Clegg (speaker), Miranda Grey
Page Number and Citation: 14
Explanation and Analysis:
In this scene, Clegg has taken Miranda outside to walk around with him at night. She is bound and gagged, which is why she cannot answer anything he says. Clegg’s assertion that was “always perfectly respectful” towards Miranda until a specific incident is an example of his delusional desire to excuse his actions. He attempts to portray himself as a gentleman, yet his actions and thoughts—he’s kidnapped her—betray a fundamental lack of respect for Miranda’s autonomy. That is, he says here that he “never had any nasty desire to take advantage of the situation,” when in actuality, he is taking Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam co

“It’s not a little thing. It’s terrible that you can’t treat me as a friend. Forget my sex. Just relax.”

I’ll try, I said. But then she wouldn’t sit by me again.

Related Characters: Frederick Clegg (speaker), Miranda Grey
Page Number and Citation: 69
Explanation and Analysis:
Here, Miranda and Clegg are sitting together and looking at an artbook. Miranda starts to chastise Clegg when she realizes he is not listening to anything she is saying because he is thinking about touching her. Earlier in the novel, Miranda expressed fear that Clegg would sexually assault her because he does not realize the source of his impulses. Clegg claims that sex is not at the base of his attraction to her, but this quote provides more evidence that the opposite is true. Although Clegg is an extreme example, the frustration Miranda expresses here is one that she also Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui

I know what some would think, they would think my behaviour peculiar. I know most men would only have thought of taking an unfair advantage and there were plenty of opportunities. I could have used the pad. Done what I liked, but I am not that sort, definitely not that sort at all. She was like some caterpillar that takes three months to feed up trying to do it in a few days. I knew nothing good would come of it, she was always in such a hurry. People today always want to get things, they no sooner think of it they want to get it in their hands, but I am different, old-fashioned, I enjoy thinking about the future and letting things develop all in good time.

Related Characters: Frederick Clegg (speaker), Miranda Grey
Page Number and Citation: 100-111
Explanation and Analysis:
Here, Clegg is angry with Miranda because she tried to escape after learning Clegg is not intending to let her go as he promised. The passage shows how Clegg justifies his behavior, which he contrasts with what he assumes would be the actions of other men. He recognizes he’s not behaving normally, yet he clings to an image of himself as being morally superior. By asserting that most men would have taken advantage of the situation, Clegg tries to elevate himself as morally superior because he refrains from outright physical or sexual abuse, despite the numerous opportunities. This, of course, Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. M

She made me look a proper fool. I knew what she was thinking, she was thinking this was why I was always so respectful. I wanted to do it, I wanted to show her I could do it so I could prove I was really respectful. I wanted her to see I could do it, then I would tell her I wasn’t going to, it was below me, and below her, it was disgusting.

Related Characters: Frederick Clegg (speaker), Miranda Grey
Page Number and Citation: 105-106
Explanation and Analysis:
In this scene, Clegg is recounting the night when Miranda attempts to seduce him. Clegg is scared to admit he wants sexual attention from Miranda and is even more frightened when she decides to give it to him unprompted. Elsewhere, Clegg will show that he can handle female sexuality if he feels in control of the situation. However, here, Miranda takes the lead, and it makes him deeply uncomfortable. Despite his discomfort with sex, he still wants to prove to Miranda that he is a man, which in this case he thinks means achieving an erection. He implies that doing Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferend

It was no good, she had killed all the romance, she had made herself like any other woman, I didn’t respect her anymore, there was nothing left to respect.

Related Characters: Frederick Clegg (speaker), Miranda Grey
Page Number and Citation: 110
Explanation and Analysis:
Here, Clegg is describing how he no longer feels love toward Miranda following Miranda’s attempt to seduce him. Up to this point in the novel, it is clear to Miranda that Clegg has repressed sexual urges. In attempting to calm these urges and offer herself to Clegg sexually, Miranda loses Clegg’s respect and romantic interest. What is odd about Clegg’s formulation of their relationship is that he seems to want a sexless romance with Miranda. He thought she was above using sex to get what she wants, but she proved otherwise as far as he is concerned. As is the Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempo

Part 2 Quotes

Power. It’s become so real.

I know the H-bomb is wrong. But being so weak seems wrong now too.

I wish I knew judo. Could make him cry for mercy.

Related Characters: Miranda Grey (speaker), Frederick Clegg
Page Number and Citation: 123
Explanation and Analysis:
This is an excerpt from Miranda’s first journal entry after Clegg kidnaps her. Here, she reflects on the nature of power, suggesting that previously it only existed for her as an abstraction. Miranda has had many conversation about power and the ways power can lead to violence, such as in the case of H-bomb, which is her most pressing political cause. However, she has never witnessed the devastation of the H-bomb firsthand, nor has she been victim to extreme uses of force. As a person from the upper classes, Miranda is used to being the powerful, not the powerless, even Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores.

I know what I am to him. A butterfly he has always wanted to catch. I remember (the very first time I met him) G.P. saying that collectors were the worst animals of all. He meant art collectors, of course. I didn’t really understand, I thought he was just trying to shock Caroline—and me. But of course, he is right. They’re anti-life, anti-art, anti-everything.

Related Characters: Miranda Grey (speaker), Frederick Clegg, G.P., Marian
Related Symbols: Clegg’s Butterfly Collection
Page Number and Citation: 129
Explanation and Analysis:
Here, Miranda is describing how she feels Clegg treats her, which is as more of a specimen than a human being. Of everything Clegg owns, there is only one object that Miranda both respects and fears: his butterfly collection. Clegg is an amateur entomologist and keeps a collection of pinned butterflies, which Miranda finds both beautiful and repulsive. The beauty emanates from the butterflies themselves, while Miranda’s repulsion comes from her dislike of violence. In G.P.’s comparison, there is a distinction being made between an artist as someone who creates and a collector as someone who selfishly consumes. Clegg is Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero s

Upstairs, bedrooms, lovely rooms in themselves, but all fusty, unlived-in. A strange dead air about everything. Downstairs what he (he would) called “the lounge” is a beautiful room, much bigger than the other rooms, peculiarly square, you don’t expect it, with one huge crossbeam supported on three uprights in the middle of the room, and other crossbeams and nooks and delicious angles an architect wouldn’t think of once in a thousand years. All massacred, of course, by the furniture. China wild duck on a lovely old fireplace. I couldn’t stand it, I got him to retie my hands in front and then I unhooked the monsters and smashed them on the hearth.

That hurt him almost as much as when I slapped his face for not letting me escape.

Related Characters: Miranda Grey (speaker), Frederick Clegg, G.P.
Page Number and Citation: 134
Explanation and Analysis:
In this quotation, Miranda describes seeing the upstairs of Clegg’s home for the first time. Although the bones of the house impress her, what Clegg has done to it offends her sensibilities. Elsewhere in the novel, Clegg often blames Miranda’s sudden change in mood on her being a woman, as he thinks women are hysterical and are therefore subject to rapid changes in mood. While Miranda usually is far more deliberate in her behavior than Clegg gives her credit for, here she becomes temporarily unhinged because she finds Clegg’s taste so insulting. She does not smash the china because she Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis

I’m so superior to him. I know this sounds wickedly conceited. But I am. And so it’s Ladymont and Boadicaea and noblesse oblige all over again. I feel I’ve got to show him how decent human beings live and behave.

He is ugliness. But you can’t smash human ugliness.

Related Characters: Miranda Grey (speaker), Frederick Clegg
Page Number and Citation: 137
Explanation and Analysis:
Here, Miranda is once again thinking about her superiority to Clegg after he fails to understand anything she tries to teach him about art. There are a number of allusions in this quotation that should be clarified. First, Ladymont is a fictional place where Miranda went to boarding school. As such, it represents the values of a privileged class of people. Meanwhile, Boadicaea is a legendary British queen who led a revolt against Roman rule. Finally, noblesse oblige refers to the concept that those of higher status have a duty to act honorably towards those who are less privileged. In Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in.

Uncanny. But there is a sort of relationship between us. I make fun of him, I attack him all the time, but he senses when I’m “soft.” When he can dig back and not make me angry. So we slip into teasing states that are almost friendly. It’s partly because I’m so lonely, it’s partly deliberate (I want to make him “relax,” both for his own good and so that one day he may make a mistake), so it’s part weakness, and part cunning, and part charity. But there’s a mysterious fourth part I can’t define. It can’t be friendship, I loathe him.

Related Characters: Miranda Grey (speaker), Frederick Clegg
Page Number and Citation: 148
Explanation and Analysis:
Here, Miranda is grappling with the complexity of her relationship with Clegg, as he is both her captor and the only form of human contact available to her. Miranda’s admission that part of her engagement with Clegg is driven by her loneliness reveals the fundamental human need for connection, even in the most unnatural circumstances. Despite her intense loathing for Clegg, the isolation she endures as a captive compels her to seek out some form of interaction, no matter how twisted it might be. Her description of their relationship, which oscillates between antagonism and almost friendly teasing, underscores how loneliness Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis

7. But you don’t compromise with your background. You cut off all the old you that gets in the way of the maker you. If you’re suburban (as I realize D and M are—their laughing at suburbia is just a blind), you throw away (cauterize) the suburbs. If you’re working class, you cauterize the working class in you. And the same, whatever class you are, because class is primitive and silly.

Related Characters: Miranda Grey (speaker), Frederick Clegg, G.P.
Page Number and Citation: 152
Explanation and Analysis:
During one of her journal entries about G.P., Miranda lists several things G.P. taught her, this quote being one of them. Here, G.P. is suggesting that, to be a true artist, one must sever themselves from their class background. Both he and Miranda like to claim that “class is primitive and silly” because they are sitting at the top of the social ladder. As Clegg says elsewhere in the novel, it is easy for a rich man to tell a poor man not to worry about money; the same is true of social classes more broadly. Often, Miranda criticizes Clegg Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis

People like your bloody aunt think I’m a cynic, a wrecker of homes. A rake. I’ve never seduced a woman in my life. I like bed, I like the female body, I like the way even the shallowest of women become beautiful when their clothes are off and they think they’re taking a profound and wicked step. They always do, the first time. Do you know what is almost extinct in your sex?

He looked sideways at me, so I shook my head.

Innocence.

Related Characters: Miranda Grey (speaker), G.P., Frederick Clegg
Page Number and Citation: 186-187
Explanation and Analysis:
This quote comes from Miranda’s recollection of a conversation with G.P. and is an important part of the novel’s commentary on gender dynamics. G.P.’s speech provides insight into his somewhat contradictory views on women and relationships. He vehemently denies being a cynic, a home-wrecker, or a rake, suggesting a defensiveness about his reputation and a desire to assert a different self-image. He claims never to have seduced a woman, yet he admits to enjoying women’s bodies and the intimacy of sex. All of this paints a picture of a man who at least believes that women simply can’t help but Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta imp

I felt sorry for Caliban this evening. He will suffer when I am gone. There will be nothing left. He’ll be alone with all his sex neurosis and his class neurosis and his uselessness and his emptiness. He’s asked for it. I’m not really sorry. But I’m not absolutely unsorry.

Related Characters: Miranda Grey (speaker), Frederick Clegg
Page Number and Citation: 208-209
Explanation and Analysis:
In this quote Miranda reflects on her feelings toward Clegg, whom she refers to as Caliban, drawing from Shakespeare’s The Tempest. She expresses a momentary pity for him, acknowledging that he will suffer greatly after she is gone. At the end of The Tempest, Caliban acknowledges his mistakes and vows to do better. As a result, Prospero forgives him and leaves the island, allowing Caliban a chance to reclaim his autonomy. However, here, Miranda thinks she is leaving Clegg to a fate that is far more dire. Although Miranda’s escaping Clegg would amount to a reinstatement of the social order—much Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus t

I hate them. I hate the uneducated and the ignorant. I hate the pompous and the phoney. I hate the jealous and the resentful. I hate the crabbed and the mean and the petty. I hate all ordinary dull little people who aren’t ashamed of being dull and little. I hate what G.P. calls the New People, the new-class people with their cars and their money and their tellies and their stupid vulgarities and their stupid crawling imitation of the bourgeoisie.

Related Characters: Miranda Grey (speaker), Frederick Clegg
Page Number and Citation: 221
Explanation and Analysis:
This is a rant Miranda goes on in an entry where she is particularly frustrated with Clegg and her chances of escaping him. Whenever Miranda is upset, she tends to take her anger out by reverting to class-based discourse, which makes her feel superior. She feels the need to resort to politics because it is her primary lens for viewing the world, and she does not know where else to turn. However, politics does not help her understand Clegg. While parts of him resemble “the New People,” he is a monster and his monstrousness cannot be explained by his class. Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut ali

No pity. No God. I shouted at him and he went mad. I was too weak to stop him. Bound and gagged me and took his beastly photographs. I don’t mind the pain. The humiliation. I did what he wanted. To get it over. I don’t mind for myself any more. But oh God the beastliness of it all. I’m crying I’m crying I can’t write.

I will not give in. I will not give in.

Related Characters: Miranda Grey (speaker), Frederick Clegg
Page Number and Citation: 277
Explanation and Analysis:
This is part of Miranda’s last journal entry, just before she succumbs to her illness and dies. In it, she describes Clegg taking nude photographs of her against her will while she is dying. Notably, neither Clegg nor Miranda describes this moment in detail in their respective narratives. For Miranda, the moment is simply too painful to write about, and she has little strength to write as it is. However, at the same time, she wants people to know the truth should anyone ever find her journal. Throughout the novel, photography is associated with death and, here, Miranda is photographed Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum

Part 3 Quotes

Post a letter first to the police. So they would find us down there together. Together in the Great Beyond.

We would be buried together. Like Romeo and Juliet.

It would be a real tragedy. Not sordid.

I would get some proper respect if I did it. If I destroyed the photos, that was all there was, people would see I never did anything nasty to her, it would be truly tragic.

Related Characters: Frederick Clegg (speaker), Miranda Grey
Page Number and Citation: 298
Explanation and Analysis:
Here, Clegg is describing a potential plan for dealing with Miranda’s death. Because he wants “some proper respect,” he considers killing himself and staging his and Miranda’s deaths to seem akin to Romeo and Juliet. In Shakespeare’s famous play, Romeo and Juliet die by suicide after a series of tragic misunderstandings: Romeo drinks poison believing Juliet is dead, and Juliet stabs herself with Romeo’s dagger upon finding him dead. Ultimately, they kill themselves out of love for each other, which serves as proof that their love is genuine. However, for the entire novel, Miranda has been comparing her relationship to Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt.

Part 4 Quotes

I have not made up my mind about Marian (another M! I heard the supervisor call her name), this time it won’t be love, it would just be for the interest of the thing and to compare them and also the other thing, which as I say I would like to go into in more detail and I could teach her how. And the clothes would fit. Of course I would make it clear from the start who’s boss and what I expect.

But it is still just an idea. I only put the stove down there today because the room needs drying out anyway.

Related Characters: Frederick Clegg (speaker), Marian, Miranda Grey
Page Number and Citation: 305
Explanation and Analysis:
This is the quote that ends the novel, as Clegg transfers his obsession with Miranda over to Marian. His casual mention of Marian’s name and the acknowledgment of her as “another M” suggests a disturbing pattern in his behavior, as he seems to replace Miranda with Marian seamlessly. His statement that this time “it won’t be love” indicates a shift from his previous delusion of romantic interest to a more calculated, detached approach. He plans to capture her out of curiosity and to compare her to Miranda, consciously treating the act as an experiment rather than an emotional connection. Additionally, Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Molliti
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Frederick Clegg Character Timeline in The Collector

The timeline below shows where the character Frederick Clegg appears in The Collector. The colored dots and icons indicate which themes are associated with that appearance.
Part 1
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Frederick Clegg, a young man who works in the city clerk’s office, describes stalking a young woman... (full context)
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For the most part, Clegg only sees Miranda from afar, though one time they took the same train together, and... (full context)
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Clegg is born in 1935 and his father dies in a drunk driving accident when he... (full context)
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At age 21, Clegg, who works as a city clerk, starts gambling and eventually wins over 70,000 pounds. After... (full context)
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Shortly after Clegg’s experience at the restaurant, he decides to see a sex worker because he has never... (full context)
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While Aunt Annie and Mabel are away on a trip to Australia, Clegg decides to start stalking Miranda again. He has recently bought a van with a bed... (full context)
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Miranda and the young men walk into a coffee-bar and Clegg follows them inside. Clegg sits down and, as Miranda is waiting in line, she moves... (full context)
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One day, not long after he follows Miranda into the coffee shop, Clegg is reading a newspaper and sees an advertisement for a remote home for sale outside... (full context)
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Clegg ends up paying more than the asking price for the home. The various tradesmen he... (full context)
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Once the cellar is ready, Clegg begins stalking Miranda again. He finds out where she lives, how she gets home, and... (full context)
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Clegg drives Miranda out into the country and then gets into the back of the van... (full context)
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They do not arrive until 10 p.m. Clegg carries Miranda into the cellar. She struggles a bit but is too small for Clegg... (full context)
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When Clegg checks on Miranda the following morning, she demands to know what is going on. Clegg... (full context)
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To Clegg’s dismay, Miranda recognizes him because she saw his picture in the newspaper after he won... (full context)
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For the rest of the day, Clegg tries to be polite to Miranda, and he brings her food. However, she does not... (full context)
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The following day at breakfast, Miranda demands that Clegg release her. Clegg says he cannot but promises he will not hold her for too... (full context)
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Later the same day, Clegg drives to a local store and looks at the newspapers. There, he sees two articles... (full context)
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After dinner that night, Miranda asks Clegg to tell her about himself. Clegg explains his interest in entomology. Miranda suggests that Clegg... (full context)
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The following morning, Miranda tricks Clegg into bending over and looking at something. When his back is turned, Miranda pushes him... (full context)
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To get Miranda to speak to him again, Clegg offers her a deal: if she will speak, eat, and promise not to escape, he... (full context)
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Clegg is worried that Miranda will try to escape but promises to think on it and... (full context)
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The next day, Clegg boards up the bathroom window, which is on the backside of the house, and makes... (full context)
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Then, Miranda asks if she can look around the house, which Clegg reluctantly allows her to do. Immediately, Miranda begins insulting the décor, though she does compliment... (full context)
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Then, Miranda asks Clegg to show her his entomology collection, which she refers to as her “fellow-victims.” Eagerly, Clegg... (full context)
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As promised, Clegg takes several pictures of Miranda while she is reading. For her part, Miranda attempts to... (full context)
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...different drawing session a few days later, Miranda draws several pictures of fruit and asks Clegg which one is the best. Clegg points at one. Miranda shakes her head and says... (full context)
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A night or two later, Clegg agrees to let Miranda walk around outside at night with his supervision because she begs... (full context)
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When they are back inside and Miranda can speak again, she asks Clegg if he wanted to kiss her while they were outside. Clegg, ashamed, promises her that... (full context)
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...is always looking for new ways to escape. One day, Miranda fakes appendicitis and asks Clegg to call a doctor. Clegg rushes out of the room and deliberately leaves the door... (full context)
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For the next several days, Miranda undergoes a rapid series of mood changes, which startle Clegg. Some days she is sweet and tries to teach him about art. Other days, she... (full context)
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One day, Miranda asks Clegg if she can send a letter to her parents to let them know she is... (full context)
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The following day, Miranda gives Clegg a list of rare and expensive items that she wants him to purchase, which will... (full context)
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One night, after Miranda takes a bath, Clegg allows her to stay upstairs with him and read by the fire. After a while,... (full context)
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Leading up to the day Clegg told Miranda he would let her go, Miranda repeatedly talks about the fact that she... (full context)
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Clegg returns home, gives Miranda her dress, and then prepares himself for the evening. When Clegg... (full context)
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After dinner, Miranda asks Clegg if he will want to continue seeing her after he lets her go. Still playing... (full context)
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Outside, Clegg and Miranda hear a car somewhere nearby. When Clegg turns to look, Miranda kicks a... (full context)
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Knowing Miranda will be angry with him, Clegg writes her a letter that he brings in with her breakfast. The letter is an... (full context)
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After a few more days of tense interactions between Miranda and Clegg, Clegg agrees to let Miranda walk outside with him at night again. While outside, Miranda... (full context)
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Clegg leaves Miranda bound and gagged in the cellar to teach her a lesson. Then, he... (full context)
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A few days later, Miranda asks Clegg what she needs to do for him to set her free. However, he does not... (full context)
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A few nights later, Clegg lets Miranda have another bath. After the bath, she and Clegg share a bottle of... (full context)
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Miranda tells Clegg that many men have similar problems and insists that he should not worry about it.... (full context)
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The following day, Miranda tells Clegg that she plans to starve herself again unless he will renovate a room upstairs for... (full context)
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After some time, Clegg tells Miranda that the new room is ready. However, he says he will not let... (full context)
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The next morning, Clegg visits Miranda in the cellar and sees that she has a nasty cough. He gives... (full context)
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By dinner, Miranda thinks she has the flu, though Clegg assures her it is just a cold. When Miranda protests, Clegg states that he thinks... (full context)
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The next day, when Clegg goes to check on Miranda, it seems that she genuinely is quite sick. Her temperature... (full context)
Part 2
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...series of journal entries starting on October 14th, the seventh night of her time at Clegg’s home. At this point, Miranda does not think Clegg is interested in her for sex,... (full context)
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On October 15th, Miranda writes that Clegg does not believe in God, which makes her want to believe more. Then, she recalls... (full context)
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On October 16th, Miranda talks about how difficult it is to escape Clegg. He seems to have thought of everything, as there is nothing she can use to... (full context)
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Miranda describes Clegg’s home decorations, which she finds atrocious. She thinks Clegg’s behavior is so aggressively ordinary that... (full context)
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On October 17th, Miranda hates herself for changing her behavior to give Clegg what he wants. However, she also notes that, generally speaking, Clegg does whatever she asks... (full context)
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Miranda finds herself feeling superior to Clegg when it comes to judging beauty. Although she does not want to come off as... (full context)
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On October 18th, Miranda describes showing her fruit sketches to Clegg. She is annoyed that Clegg did not pick the one she liked best, though she... (full context)
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Clegg and Miranda argue about the topic for a while, which leads to a conversation about... (full context)
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...go outside for the first time, albeit in the dark. While outside, she senses that Clegg wants to kiss her, which makes her nervous because it seems as though he kidnapped... (full context)
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...more dejected, as she feels entirely cut off from the world. She talks about how Clegg often photographs, though she feels there is nothing artistic about how he takes photographs. She... (full context)
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...20th, Miranda describes attempting to escape by pushing the door to the cellar back into Clegg’s face when he comes to bring her breakfast. However, her attempt barely fazes Clegg, who... (full context)
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...changes the subject of her journal entry. She begins thinking about her personal life before Clegg captured her. Briefly, she thinks about her strained relationship with her mother, who she has... (full context)
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On October 21st, Miranda briefly discusses forcing Clegg to cook healthier food for her. She also delights in getting Clegg to buy expensive... (full context)
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Miranda asks Clegg why he does not have more books around the house. Clegg says he has a... (full context)
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...if she is to have any chance at all. She decides that she must trick Clegg into leaving the house for several hours while she attempts to tunnel out of the... (full context)
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...faults into virtues and feels that she must do the same in order to escape Clegg. At night, Miranda writes more about G.P. She describes the first time she brought some... (full context)
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On October 24th, Miranda finds herself contemplating all the things she hates about Clegg. She feels that he is dead inside and speaks in an old-fashioned manner, which includes... (full context)
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On October 26th, Miranda writes about the absurd amount of money Clegg spends on her. She admits to liking whenever he comes back from a shopping trip... (full context)
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Later, Miranda also writes about Clegg, who is reading The Catcher in the Rye to please her. After reading for a... (full context)
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Miranda also records a conversation she has with Clegg about his family. Clegg does not want to talk about his parents or his other... (full context)
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On October 31st, Miranda looks at some art with Clegg and attempts to psychoanalyze him. She realizes that sitting close to her makes Clegg especially... (full context)
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...November 1st, Miranda finds a nail while she is out of the cellar. She tricks Clegg into turning his back for a moment, so she can grab it and hide it.... (full context)
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On November 2nd, Miranda gives Clegg a lengthy list of items to purchase in London, hoping it will keep him busy... (full context)
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...tried to put the stones back in place, but it was no use. She knew Clegg would know what she had done. Now, Clegg has put the stones back where they... (full context)
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...on November 5th, Miranda finds herself in a fit of rage. She smashes more of Clegg’s china and nastily insults him to his face. In retrospect, she feels that she went... (full context)
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...November 6th, Miranda fakes appendicitis by rubbing talc on her face. She is confused when Clegg leaves the door to the upstairs open and wonders what happened to him after he... (full context)
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On November 7th, Miranda has a conversation with Clegg about The Catcher in the Rye, as he has now finished the book. Clegg says... (full context)
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Miranda finds herself thinking Clegg is stupid and hates having to put up with him. She feels that society’s only... (full context)
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...she is not an artist yet, but rather an aspiring artist. Additionally, she realizes that Clegg is not a typical representation of any social class. She writes about how poorly Clegg... (full context)
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On November 10th, Miranda argues with Clegg about his money. She wants him to donate it to a good cause, but he... (full context)
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On November 12th, Miranda writes about her conflicted feelings regarding Clegg. If she ever escapes his clutches, she genuinely wants to put him in touch with... (full context)
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...on a hunger strike and has been for five days. She refuses to eat anything Clegg gives her, despite the concerning pain beginning to develop in her stomach. She plans to... (full context)
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On November 19th, Miranda declares Clegg her permanent enemy. She has just woken up in her underwear after being dosed with... (full context)
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On November 20th, Miranda is on a hunger strike and refusing to talk to Clegg. As such, Clegg leaves her alone for the most part. Miranda finds that her mood... (full context)
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...she writes, her hands are still bound together. In her journal entry, she describes attacking Clegg with the axe she found lying on the ground. She deliberately hit him with the... (full context)
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...and feels she has betrayed her principles. She decides to take a gentle approach with Clegg once again, thinking of him as someone who needs sympathy. However, after spending the day... (full context)
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On November 28th, Miranda decides that she will seduce Clegg, feeling as though she has run out of all other ideas. Although she plans to... (full context)
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On November 20th, Miranda declares that her relationship with Clegg is worse than ever. She recounts attempting to seduce Clegg. As she suspected, he was... (full context)
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On December 1st, Miranda feels that Clegg hates her because she has learned he is impotent. She grows frightened of him as... (full context)
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...deal. However, as she quickly grows sicker, she worries she is going to die in Clegg’s cellar. As her condition worsens, she curses God and thinks that God cannot be good... (full context)
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...and fragmented journal entries. In one, she states that she is going mad and hopes Clegg has gone to fetch a doctor. She insists that she won’t die but is also... (full context)
Part 3
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The perspective shifts back to Clegg, who checks up on Miranda and realizes she is far sicker than he thought. Miranda... (full context)
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Wanting to help Miranda, Clegg goes to a doctor’s office, hoping to secure a prescription. However, while in the waiting... (full context)
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Then, Clegg goes upstairs and takes a nap. When he wakes up, Miranda’s condition is even worse.... (full context)
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The next day, Miranda dies. Once she is dead, Clegg returns her body to the cellar. There, he cuts off a lock of her hair,... (full context)
Part 4
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When Clegg wakes up the next day, he feels better, and it is a beautiful day outside.... (full context)
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Clegg returns home and sets the flowers down around Miranda. While doing so, he spots Miranda’s... (full context)
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A few weeks later, Clegg receives a letter from his Aunt Annie, saying that she and Mabel intend to live... (full context)