As a woman and her daughter prepare to attend a memorial service for their husband and father, a railwayman, the girl offers the woman her kaleidoscope: ‘You could borrow this, Mum [...] You said it was good for seeing things differently.’ It is a resonant moment, the promise of a magical but fleeting distortion of reality both lovely and desperately sad. The scene also encapsulates The Railwayman’s Wife, a novel imbued with death and the hard slog of new beginnings – and with notions of ‘seeing things differently’.

The Body in the Clouds, Ashley Hay’s scintillating and accomplished first novel, is in fact her fifth book, its predecessors all being non-fiction. There was the Lord Byron book, The Secret: The Strange Marriage of Annabella Milbanke and Lord Byron (2000), Gum: The story of eucalypts and their champions (2002), Herbarium (2004) and Museum: The Macleays, their collections and the search for order (2007).

There is something irresistible about trying to trace a connection between notorious lover and memoirist Casanova and notorious lover and poet Lord Byron in Venice – the seductive city where both men worked their way through galleries of women. Casanova estimated that he had had more than one hundred and thirty in 1798, the year of his death, although that was his lifetime’s count, not just the Venetian episodes. Byron, on the other hand, reckoned that he had got through more than two hundred in Venice alone – and in less than two years – before he stopped counting. Between their frenzied trysts was a tantalisingly small gap of thirty-odd years: Casanova was sent into his final exile from Venice in 1782, before Byron was born; Byron arrived in 1816. People who had known the Italian must have met the Englishman.