Mary Elizabeth Braddon – Lady Audley’s Secret (1862)

Review by Justin Tate

Lady Audley’s Secret is a gorgeous example of the Victorian ‘Sensation Novel’ which dominated Great Britain during the 1860’s and ’70s. It includes a unique female mastermind of evil, while also presenting enough evidence for a lively counter argument over who the real villain is. The prose is top-notch and very modern. At times it reads more like the latest literary prize-winner and not something that was published over a hundred and fifty years ago. There’s plenty of mystery and suspense to keep the pages turning, but intriguing characters are what really keep you glued. It’s a shame this classic no longer enjoys the massive popularity it once carried well into the early 20th century. It holds up extremely well.

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Wilkie Collins – The Woman in White (1859)

Review by Justin Tate

Over 150 years later, The Woman in White still deserves its status as one of the most beloved and influential novels written in English. The combination of Gothic aesthetics, penny dreadful scandal, domestic drama and Victorian true crime makes it a mainstream delight for all readers, then and now. There’s even classic detective work that would, no doubt, go on to inspire the Sherlock Holmes mysteries.

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Richard Brautigan – The Hawkline Monster (1974)

Review by Justin Tate

First published in 1974, this “Gothic Western” endures as an offbeat classic. Tim Burton almost directed a movie adaptation starring Clint Eastwood and Jack Nicholson, but Eastwood backed out and Burton went with Mars Attacks! instead. Smart decision.

The Hawkline Monster is a problematic story that fluctuates between pure spoof and legitimate horror. Most of the comedy comes from witty word choices and bizarre happenings, such as characters with little respect for the dead, human transformation into inanimate objects, and impromptu sex spurred on by supernatural forces.

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Matthew Lewis – The Monk (1796)

Review by Justin Tate

Among the controversial literary works published throughout world history, few have sparked the level of outrage and obsession associated with Matthew Lewis’ 1796 novel The Monk. Even before his book bugged out eyes all across London, the patriarch was feeling hesitant toward Gothic plots. On one hand, Ann Radcliffe’s narrative puzzleboxes were charmingly written. But on the other, her female characters were too pushy against their fathers, too resistant of assigned husbands, and too eager to run off on exotic adventures. A girl could get ideas reading such folly. What a mess that would be!

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Catherine Smith – Barozzi (1815)

Review by Justin Tate

A Gothic rollercoaster! Action is launched with the first line and doesn’t hold back until the twist-filled resolution. Smith was an actress by trade and her dramatic experiences fit well within the genre, where characters are encouraged to speak in the operatic tones of Shakespearean tragedy.

First published in 1815 and largely out-of-print until 2006, Barozzi would have likely been a mainstream publication in its day, but not splash-worthy. The tyrannical ruler willing to embrace any evil to maintain power is highly reminiscent of Manfred in Walpole’s The Castle of Otranto (1764) and, by extension, Macbeth (1606). The sections which deal with demon conjuring reflect Matthew Lewis’ The Monk (1796). And the magician’s reveal of a conclusion is very much in line with the tradition of Ann Radcliffe. In other words, Smith played all the hits but nothing edgy enough to cause a stir.

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Paul Féval, père – Vampire City (1867)

Review by Justin Tate

Pride and Prejudice and Zombies wasn’t the first book to remix classic literature with horror. Way back in 1867 came this totally bonkers French novel which imagines Ann Radcliffe as a vampire hunter. The young novelist, along with several ragtag companions, scout across Europe to root out blood suckers and save Ann’s sister before the upcoming double wedding. Along the way, Radcliffe’s macabre adventures inspire her to write her masterpiece, The Mysteries of Udolpho.

If the plot sounds ridiculous, it’s supposed to be. Féval, who was quite popular in his day, tells his tale with all the self-aware hilarity one might expect from a skilled satirist. The tone is meant to be zany, and zany it is. I wouldn’t call it a fine novel by any stretch of the imagination. That said, according to Goodreads, I highlighted over 200 sentences. It’s rare for a book to have me so glued that I’m highlighting on every page.

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Edwina Noone – The Craghold Legacy (Complete Series) (1972-73)

Review by Justin Tate

The Craghold quartet is highlighted primarily by its first volume, The Craghold Legacy, which delivers an unwavering deluge of bizarre. Undeterred by the novella format, Edwina Noone (aka Michael Avallone) manages to incorporate every Gothic item imaginable in a single narrative. Somehow, miraculously, he succeeds. The follow-up entries are less mesmerizing because the world is already so richly established. Lacking initiative to expand its potential is disappointing, and yet there is also a familiar pleasure with having the same events reoccur over changed seasons, and with fresh victims at the mercy of the same haunted hotel.

Connections between the four books are minimal at best. They can be read in any order without missing critical information. The series should begin with the first, however, only to best lose one’s virginity to all the uncanny characters and otherworldly happenings. Here are my reviews of each individual novel:

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Sebastian Lamb – The Slasher (1977)

Review by Justin Tate

This rare 1977 horror novel occasionally pops up in academic discussions around gay representation in literature. Drewey Wayne Gunn, a leading academic on such topics, describes The Slasher as a “credible attempt to explain a killer’s mentality” and praises its “touching portrait of a relationship between two police officers and their friendship with the medical examiner.” He goes on to lament that the author’s actual identity remains a mystery, since Sebastian Lamb, like most headliners of pulp fiction, is a pseudonym.

Gunn’s praise is generous, but he’s not wrong. If you glaze over the overindulgent sex and generally poor writing, it’s possible to enjoy a story of semi-closeted detectives attempting to bring a killer to justice. Both victims and murderer are also gay, making this a story 100% by, for, and about gay men. A few lines of social commentary imply these grisly murders might go unchecked if the detectives were straight. The media, at least, aren’t interested in reporting on “faggot deaths” until one of the victims turns out to be a young, emerging actor.

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Ann Radcliffe – The Italian (1797)

Review by Justin Tate

The Italian appeared in 1797 during peak Ann Radcliffe pandemonium. Fueled by the success of her uber bestsellers The Romance of the Forest (1791) and The Mysteries of Udolpho (1794), this new release was destined to be popular, no matter what. Fans were anxious for another Gothic thriller by their favorite author, particularly since the genre had become so fashionable. Matthew Lewis’ The Monk (1796), for example, had recently scandalized readers in all the right ways. When rumor got out that The Italian was Radcliffe’s literary response to Lewis, anticipation whirred like a steam engine.

Certainly the publisher had big expectations. Radcliffe was already the highest paid author in the world after receiving a record-breaking £500 for Udolpho. For the The Italian she was paid £800, or about three times the annual salary of her successful, journalist husband.

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Kym Allyson – Gay Circus (1970)

Review by Justin Tate

If you’ve ever checked out Pennywise and thought “I’d hit that,” you might be like Terry Adams, the nineteen year-old farm boy from St. Paul and newest recruit at the Gay Circus.

Terry’s life ambition is to become a clown himself. With his big ears “like sugar bowl handles” and theatrical eyes that spontaneously “alternate between happiness and sadness,” it’s like he was made for it. Everyone says he has the face of a clown, “even without makeup.” Being double-jointed is just the cream pie on top.

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