Harlequin Gothic Romance Series No. 32018 - Secret at Orient Point

"Could they fight the evil pulling them towards the same horrible fate as their parents?" (cover blurb) 

 

Picking up and reading this book was hard to do.  When I picked up the first Harlequin Gothic Romance to read back in November 2024, I had seventeen books ahead of me after I finished that one, so I didn't give much thought to actually completing the series.  Now, here we are a little over one year later, and I have finally reached the eighteenth and final Harlequin Gothic Romance.  After literally most of my life thinking I would NEVER pick up and read a Harlequin book, it's funny to look back and realize just how much I thoroughly enjoyed this series of Gothic romances - mainly because the stories had very little romance and more mystery and suspense, which are definitely more my line of reading.  Thus, with of a bit of reluctance, knowing that after this, I would have no more to read in this series, I opened the book and began to read...

 

Let's start with the title.  Secret at Orient Point.  That title alone is enough to catch me, since it has that same format as the children's mystery series I collect (i.e., "Mystery in the..." or "Clue of the...").  Then let's talk about that cover.  Twenty-four year old Erika Barlow, looking back with fear at the ghostly couple dancing in the dark ballroom.  Hints of terror, hints of supernatural, hints of a mysterious tale waiting in the pages within this book.  With all of this swirling in my head, I was excited to forge ahead.  The story is set in the 1880s and centers around Erika's return to her family's hotel, located on North Fork in Long Island, New York.  It has been twenty years since she was taken away to live with her aunt after her mother's murder at the hands of her lover, and now her father has died in a shipwreck, leaving her the sole owner of the hotel.  But her arrival starts a series of events that brings long buried secrets to the surface, kindles a relationship that can never be, and threatens to reveal a truth that someone will do anything to keep hidden - even if it means killing Erika!

 

Erika is aware of her mother's affair with the man she truly loved - Gerhard Langermann.  What she did not know is that she was a product of that affair.  But that secret does not seem overly important until she meets Langermann's son, David, and suddenly finds herself attracted to the son of her mother's lover. They are half-siblings, and despite knowing how wrong it is, neither one of them can deny the feelings they are experiencing.  Erika does everything in her power to fight the growing love she has for her half-brother and focuses on the refurbishing of the hotel so it can be opened for the summer guests.  However, someone seems to be out to get her.  First, there is the attack on the pier that nearly drowns her.  Then there is the fire in the hotel, from which she barely escapes alive.  Later, she experiences a terrifying climb onto the roof during a rainstorm, following the person she believes is trying to kill her.  Who is trying to end her life?  Could it be David, who may have inherited his father's own insanity?  Is it her secretary, whose jealousy of the attention David gives Erika is written all over her face?  Is it Pepys, the near-mute handyman on the property who was always overly protective of her mother all those years ago?  Is it Johannes, the carpenter who is charge of the renovations for the hotel and who seems to have eyes for her?  Is it her own father, who suddenly appears after having been thought lost at sea and makes it clear he wants her to stay away from David?  Or, could it possibly be, the ghost of Julie Ann Barlow herself, come back to haunt the hotel and ensure that no one else has any happiness over the loss of her own?

 

Author Patricia Werner writes a wonderful tale of secrets, lies, ghosts, and suspense that keeps the reader turning pages faster and faster to find out how it will ultimately all end. Werner appears to be the author's real name, and she has written quite a number of romance and Gothic novels over the years, including more than a few in the line of Zebra Gothics (with wonderful titles like Mistress of Blackstone Castle, The Swirling Mists of Cornwall, Island of Lost Rubies, Hidden Gold o Widow's Mountain, and Shadows Over Cypress Swamp).  And Werner writes a rather lengthy acknowledgement on the copyright page to Andrew Marlay (for consultation on costumes), Marlene Hamerling (for advice on Jewish names), Steve Hadley (director of an historical society), and Andrea Budy (for sharing thoughts about her Inn).  Such acknowledgements only adds to the belief that Werner is not a pseudonym, but a real person.

 

The locations Werner uses in the book are real.  North Fork and South Fork (not to be confused with a certain ranch on an old nighttime soap!) are two peninsulas located on the eastern end of Long Island, New York, and like in the book, the water just north of the Forks is referred to as "Long Island Sound."  And, as in the story, the easternmost tip of North Folk is a town called Orient Point (which is where our story is set).  According to online research, Orient Point does have its seasonal swell of visitors during the summer months, which would make Erika's desire to re-open the hotel and her urgency to get all the repairs and renovations done before the summer begins perfectly in-line with reality.  And to keep matters even more real, the Orient Point Inn referenced in the book was an actual place built originally as a residence in 1672, but eventually changed to a hotel and eventually demolished nearly 300 years later. More information about the hotel can be found in the Northforker archives (Orient Point Inn - North Fork). When authors incorporate details like this from the real world, it provides a sense of realism to the story that tempers the more unbelievable aspects (such as ghosts and supernatural elements).

 

Well, with this, I've completed the run of Harlequin Gothic Romances and must move on to another Gothic series (I already have one in mind....).  Never fear, though - at the same time Harlequin began publishing this line, they also started a line called "Harlequin Romantic Suspense," which were stories with a similar suspenseful style.  Sadly, that line only lasted two books, before it was repurposed and renamed as "Harlequin Intrigue."  I have both of those Romantic Suspense novels (not to be confused with Harlequin's later line of Romantic Suspense books, which series continues today) and will eventually get around to reading them and reviewing them here.

 

RATING:  10 diaries hidden in the back of a roll-top desk out of 10 for ending this series with a story of suspense, seduction, surprises, and sinister secrets that make for a superb Gothic romance!

Secret Passage - a Mystery Story for Girls

Most fans of series book will recognize the name of Betty Cavanna as the author of the 12-book Connie Blair series, written under the pen name of "Betsy Allen."  Some fans, however, know that Ms. Cavanna also wrote a number of books for children under her own name.  This particular book I chanced upon at an antique book store in Atlanta a few years back, and it has sat unread on my bookshelf alongside the Connie Blair series and a few other Betty Cavanna-authored books that I own.  Since I have read a couple of the Connie Blair mysteries (enjoying one, but not so much the other), I was curious to see whether I would enjoy a non-series book by this author.  What I found on the pages inside was not at all what I was expecting!

 

Secret Passage is more than just a mystery story for girls.  As the biographical blurb on the dust jacket back cover says, this book "has in it more fact than fiction."  Even the synopsis of the story on the inside front flap of the dust jacket does not truly prepare the reader for the story he or she is about to read.  The title and the synopsis merely gives the reader the idea that this is a historical mystery (set in 1859, just two years before the start of the Civil War) that involves a 12-year old girl, Sally, and her trip to a Virginia plantation, then her return home where she becomes enthralled with the idea of secret passages and tales of Revolutionary spies that may have used them.  While those elements are certainly a part of the story, they are only a small part of it.  The main focus of the story is the changing sentiment towards slavery during that time period and how Sally's family (both immediate and distant) is involved with it.  The story is heavy on the subject of freeing the slaves, and the manner in which the Underground Railroad worked to help get slaves away from their owners in the South and up to the free states in the North.

 

Cavanna not only sets her story in a very volatile time, but she has created characters that are drawn straight out of that era.  Sally comes from a very strict Quaker family, as shown not only in her personality, but in her somber dress (plain, solid-color dresses of gray and brown), as well as her and her family's use of "thee" and "thy" instead of "you."  Additionally, her family are strong believers that ALL men are created equal, including those of African-American descent, and Sally adheres to that belief.  This book, published back in 1946 and copyrighted in Great Britain, as well as its "dominions and possessions" according to the copyright page, and as such, the author does not shy away from referring to the slaves as "black" or "Negro," or even in some cases as "n**ger."  However, the uses do not come across as derogatory, as the Brighton family is clearly on the side of abolishing slavery, and by the end of the story, they are actively helping some of the slaves escape.  When reading the book, one must remember not only the time period in which it was published, but also the time period in which the story is set, as such terms would have been used without question at that time.

 

The story opens with 12-year old Sally traveling by herself on a train from Pennsylvania down to Virginia to visit her cousin Dorothea and Aunt Charlotte, who live on a plantation called "Carrington."  And, yes, when I saw that name, I immediately thought of Dynasty.  In fact, the description of the old plantation house would probably match in size to the Carrington home on that show.  It is while visiting there that Sally first learns of the mistreatment of slaves at a neighboring plantation, and she overhears some of her aunt's servants making plans to run away to the North.  Her trip is cut short when her father writes and informs her that she must come back home, as the family is moving from Philadelphia to Haddonfield, New Jersey - and yes, that name also made me stop, as that is the same name as the city in Illinois where the Halloween series of films is set.  Of course, nothing in this story comes even close to the terrors of those films!

 

It is not until the Brighton family is settled into their new home in Haddonfield that Sally learns of an underground tunnel beneath a nearby Inn, which is what begins her adventure that leads her to learn of the possibility of a tunnel underneath her own home.  Strange cries in the night, mysterious meetings behind their neighbor's house, and her own father's mysterious comings and goings all add to the mystery.  She eventually learns her father is involved with helping runaway slaves, and when some of the servants she met at her aunt's plantation show up in Haddonfield needing help, it is Sally who ultimately saves them from capture and gives them the chance to gain their freedom.  While the book is not really heavy on the mystery part (despite the subtitle indicating it is a mystery story), it is quite the adventure, with some tense moments here and there.

The book features illustrations by Jean MacLaughlin, who, according to the back cover bio, was an old friend of the author and who had previously done many illustrations for magazine stories.  Other than the information provided on the back cover, I was not able to find much information about Ms. MacLaughlin.  The frontis piece is a color illustration, which is simply the cover scene repurposed for an internal.  However, the remaining internals spread throughout the book are black-and-white line drawings that are heavy on detail and utilizes much line shading in each illustration.  With the exception of the very last illustration on page 207, none of the scenes depict anything exciting; rather, they are simply every day scenes from Sally's life, both at Carrington and in her new Haddonfield home.  I do have to say, however, MacLaughlin does manage to draw the characters at their correct ages given in the story (I always through those illustrations in the 1930s series books depicted 16-year old girls looking more like they were in their 20s or even 30s in some instances - so it is nice to see pictures where the characters are drawn age appropriate!).

While definitely not the story I was expecting, the book was certainly a good read and one I would recommend.

 

RATING:  9 excited black puppies named Cinder out of 10 for telling a brutally honest story of what life was like in the 1800s and mixing factual history with fictional adventure to craft a good mystery. 

Harlequin Gothic Romance Series No. 32013 - Lord of High Cliff Manor

"She vowed to conquer the malevolent forces surrounding her - and found death lurking in the shadows" (cover blurb)  

 

Lucky number thirteen!  This is the thirteenth Harlequin Gothic Romance, published in September 1986 - and this marks thirteen great Gothic reads out of thirteen for the series!  I am amazed that I have yet to find a book in this series that I have not really enjoyed (but I probably should not say that, or I'll end up jinxing it!).  This is author Irene M. Pascoe's first of two books in this series, and based on this one, I cannot wait to read her second one.  I was not able to find out anything about the author, but it appears the name may be her own and not a pseudonym, as the copyright is in her name, and the dedication at the front of the book is given to her mother and father, Mary and Arthur Kasa (which is confirmed in an obituary I found online for Irene's sister, Nancy).  This book actually marks Pascoe's first of five Gothic novels she has published between 1986 and 2004.

 

Lord of High Cliff Manor is a period story, set in 1882, and follows young Jennifer Shanley as she travels to the cliffs of Puget Sound in the Washington territory, where she has been hired by Mark Kennecott as his young nephew's tutor.  But, as with any good Gothic, when Jennifer arrives, she is met with resentment and distrust.  Mark's stepmother tells Jennifer she is not right for the position and tells her to leave; however, Jennifer has no place to go (having used up all her savings to pay for the trip to High Cliff Manor), and to her relief, Mark Kennecott is determined that she will stay on to tutor young Kirk, as well as Melinda, the daughter of the manor's housekeeper.  Thus, the story is set for poor Jennifer to face the terror and danger that comes with living in High Cliff Manor...

 

The manor comes with a tragic history.  It seems not that long ago, one of the Kennecott's tug boats exploded, leaving only one man alive - Daniel Hennessey.  In that explosion, Caroline's husband, as well as the husband of the housekeeper, were killed, leaving both women widows with small children (Caroline with her son, Kirk; and the housekeeper with her daughter, Melinda).  A series of tutors have come and gone, mostly because of Kirk's horrific nightmares and his troublesome nature.  But Jennifer begins to build a friendship with the young boy in a way no one else has been able, and Mark knows he made the right choice in hiring her.  But Mrs. Kennecott and her daughter, Caroline Ramsay, are making life difficult for Jennifer so she will leave the house - or, so it seems.  First, it's a dead rat found on her pillow.  Then, a strange man appears in her room in the middle of the night.  But from there, the danger escalates.  A metal iron is dropped from an attic window, missing Jennifer by mere inches.  Then Jennifer is locked in an abandoned cabin deep in the woods, left to rot within its rat-infested walls.  It is clear someone in the house wants to get rid of Jennifer, but the question is: who?

 

Rumors in town speculate that Mark Kennecott blew up his own boat for the insurance money, as his business was floundering.  Jennifer wonders if perhaps Caroline's obvious desire to have Mark all to herself is not motive for the mysterious and deadly events.  There's always Mrs. Kennecott, who has made it clear from the first day that she does not like Jennifer and does not want her there - especially when Mark begins to show amorous intentions towards her.  And what about Daniel Hennessey?  He claims to have amnesia and wanders aimlessly through the estate - but does he have a more deadly side that no one has seen?  There plenty of suspects and more than enough motives.  Jennifer considers leaving, but she knows she cannot leave the children behind to face whatever terror haunts the great house.

 

One thing I am left wondering - the name of the character, Daniel Hennessey. In the television show, Dark Shadows, there is a character by the name of Daniel Collins when the show traveled back in time, and that character is portrayed by the actor, David Henesy.  Was this name a play on the Dark Shadows' character and its actor, or is it merely a coincidence?  I'd like to think it was a small homage to Dark Shadows, since the show epitomized Gothic tales in the late '60s and early '70s, which is the heyday period of these Gothic paperbacks.

 

Pascoe writes an excellent mystery, with a bit more romance that I've seen in most of these Harlequin Gothic tales, but not so much that it overpowers the story.  She gradually builds the suspense, dropping small hints here and there as to the identity of the one terrorizing Jennifer, and provides a tense and exciting climax that will leave the reader breathless.  This is definitely a top-notch example of what a Gothic mystery should be, and I cannot wait to read Pascoe's next book in this series!

 

RATING:   10 balls bouncing down the stairs out of 10 for the perfect mix of suspense, mystery, and romance to tell a Gothic story worthy of some of the greats!

The Captain's Lady - a Zebra illustrated gothic

It's been over a year since I read my first Zebra Illustrated Gothic (Summerhaven), so I figured it was about time I give another one of these a try.  As anyone who reads this blog knows, I've been reading the Zebra Mystery Puzzlers for some time now, and these Zebra Illustrated Gothic novels were published around the same time (the end of the 1970s), and based upon the illustrations in each series, it would appear Kensington Publishing Corp. used the same artists for both the mysteries and the Gothics. It's funny, because I've been reading so many of the Zebra Mystery Puzzlers, in which the illustrations have clues to "whodunnit" in the mystery, I found myself inspecting each of the illustrations in this book, wondering if there were any clues as to the mystery within Elswick Manor (and, of course, there were not!).

 

The Captain's Lady was written by Rachel Edwards, which was a pseudonym for Brenda Castle (who also wrote under the name "Georgina Ferrand").  Castle was quite the prolific author of romance novels between 1973 and 2010, and she managed to sneak in a few Gothics, such as this one, along the way.  The story opens much like the start of Dark Shadows - in fact, it felt almost as if I were reading a version of the show when the author has the main character, Elinora Vernon, reflecting that she was "going to a place she did not know, to people had not seen" (pp. 6-8) in order to be a governess for a young child.  Gee, sound familiar?  That is nearly a mirror image of the opening scene to the first episode of Dark Shadows - except, instead of Victoria Winters riding on a train bound for Collinsport, Maine, we have Elinora riding in a stagecoach on her way to the small England town of Elswick.  Both young woman move into a dark foreboding mansion that overlooks the ocean, with waves crashing down on the rocks below.  The author here even makes reference to a "Collingford Inn" (p. 6) that certainly sounds a lot like "Collinsport Inn" from Dark Shadows!  Now, there are no vampires, werewolves, or witches in this story, but there is certainly the threat of a ghost called "The White Lady" that haunts the great manor.

 

Edwards a/k/a Castle provides readers with a haunting tale of passion and horror as Elinora is pursued by two very different men, all while trying to protect the young child she is tutoring.  The question is, from whom is she protecting Prudence? Is it from the girl's guardian, Captain Gideon Lang, a former seaman who is said to have once loved Prudence's mother before she married another man?  Did he really kill the girl's father and is now after her inheritance, as Prudence believes?  And what about Reid Sterling, the rather all-too-forward man of the world who has somehow wormed his way into the Manor as a guest of the Captain?  Are his advances towards Elinora sincere, or are his intentions less than pure? What hold does he have over the lord of the manor?  Then there is Elsie, the housekeeper's daughter.  Elinora cannot help but notice the relationship between her and the Captain is much too friendly for a lord and his servant.  Is there a more personal relationship between the two?  And one cannot overlook the west wing of the great house, which has been closed off ever since Captain Lang purchase the manor some ten years ago.  Why does Elinora keep seeing lights from that part of the house, and whose face is she seeing in the upstairs window?  Everyone tells here there is no one there, but Elinora knows what she saw.  What dark secret is being kept within those darkened halls...?

 

Oh, and we cannot forget the White Lady, the ghost that the villagers say haunts Elswick Manor.  Elinora is just one in a long list of governesses who have come and gone, and despite warnings from the villagers, Elinora is determined to stay.  After all, she does not believe in ghosts.  But young Prudence is insistent the White Lady is real, and that the ghost is determined to kill her!  The longer she stays in the house, the more Elinora begins to realize there is something dangerous going on within its walls.  Danger lurks around every corner - is it really the ghost of Prudence's mother come back to exact revenge; or is the culprit very much alive and hoping to steal a fortune by taking the girl's life and blaming it on a ghost?  Edwards a/k/a Castle sets up a great mystery.  Although fans of Gothic tales will pretty much guess what is going on long before the reveal in the final chapters, it is still a great read with some engaging characters and perfectly-paced suspense.

 

There is no signature on the cover art, so it is not possible to say who painted the cover.   It is definitely one of the better Gothic covers I've seen, with poor Elinora shivering as she looks back at the terror-filled Elswick Manor.  The barren tree limbs, the ocean waves crashing against the cliff side, and the rolling fog around the mansion blend together to create a scene that would give anyone goosebumps!  There is also no credit given to the artist who provided the interior illustrations, which is a shame.  The black and white illustrations throughout the book are so wonderfully rendered, filled with exquisite detail, they nearly come alive off the page!  From the rendition of the towering manor on page 17 to the scenes of the interior of the great house on pages 43, 62, and 83 (shown to the right, here), the artist manages to bring life to the words on the pages, and one can easily picture themselves there in the manor with Elinora!  The final illustration, a drawing of the White Lady terrorizing poor Prudence, it truly frightening - I did not show it here, as I do not want to spoil it for anyone who wants to read this book.  That face is straight out of a horror movie!

 

One thing I did find extremely odd about this book was the transition from Chapter 10 to Chapter 11 - or, to be more accurate, the complete lack of transition.  In fact, the last sentence of Chapter 10 does not even end; rather, it carries directly into the first line of Chapter 11:

She reached it just as Prudence did.  They both stared down at it as it was washed to and fro against

 

Chapter Eleven

 

the sands by the gentle movement of the incoming tide.  The bloated and distorted features of what was once a man lay face upwards... 

(pp. 176-77).

 

I have to say, I have never in my life seen a book that starts a new chapter in the middle of a sentence.  I am unsure if this was intentional on the part of the author or the publisher, or this was merely a printing error, or what.  In fact, the end of the first paragraph in Chapter 11 seems more like the ending point of Chapter 10, because the second paragraph of Chapter 11 has a bit of a time and spatial jump, going from the rocky beach to the parlor of Elswick Manor hours after the body was found.  I'm aware there are other editions of this book (I believe it was later re-published under the Linford Romance Library line of books in the 1990s), so I wonder if those editions have this same transition, or if it was corrected.

 

In any event, The Captain's Lady turned out to be a wonderful read, and I'll certainly be keeping my eye out for any more of Brenda Castle's Gothic novels under whatever pseudonym she chose to use!

 

RATING:  9 coarse kerseymere gowns out of 10 for pure Gothic suspense in the vein of Dark Shadows

 

Harlequin Gothic Romance Series No. 32011 - Shadows Over Briarcliff

"Her visit vividly brought back the unhappy past - and with it an unknown evil presence..." (cover blurb)

 

I finally reached the first entry into this series by Marilyn Ross (a/k/a W.E.D. Ross, best known for his series of Dark Shadows novels based on the successful television show of the '60s and '70s, as well as his countless other Gothic novels written under various pseudonyms).  Ross wrote a number of series (the Dark Shadows tie-in novels, the Fog Island series, the Dark Harbor series, and others), but he also wrote a few books in various other Gothic series, such as the Birthstone Gothics for Beagle Books, as well as the Gothic Romance line for Harlequin.  This is the first of only two books that Ross wrote for the Harlequin line, and while he captures the Gothic feel of the story perfectly, the ending was somewhat of a disappointment.

 

Shadows Over Briarcliff (I suppose he had to sneak the work "Shadows" in there somehow, eh?) is set in 1884 and features a rather dark mystery surrounding the death of the main character's sister. Jessica Rice's sister, Ann, married well when she wed Stephen Briar.  But something was amiss, and when Jessica leaves London to visit her sister at the somewhat isolated Briarcliff manor, she can sense her sister is worried about something.  Before she can uncover the truth, there is a horrific carriage accident, and Jessica awaks to learn that her sister plunged into the ocean, her body never recovered and presumed to have been washed out with the tide.  Jessica returns home, ultimately leaving her unscrupulous guardians and moving in with a friend's family who help her regain the wealth her guardians had been stealing.  A note soon arrives from her brother-in-law, asking her to come back to Briarcliff, as he was still grieving Ann's death.  Jessica decides to make the trip, but she soon discovers there is evil awaiting her at Briarcliff!

 

In true Gothic fashion, Ross weaves a tale of intrigue, secrets, and possible ghosts that will leave you guessing at the truth.  Is Stephen's stepmother conspiring to regain control of Briarcliff taken from her when Stephen's father died?  Is the neighbor's daughter plotting to marry the grieving widower in the hopes of becoming the new mistress of Briarcliff?  Is Stephen, himself, looking to remove anything and anyone that might reveal the truth about his indiscretions?  Is Adrian Swift, the son of Stephen's stepmother and a flippant gambler, causing problems as a way of getting even with Stephen?  Or is it something far more sinister and far more supernatural - has Ann's spirit returned to the world of the living to stop Jessica from becoming involved with her former husband?   Plenty of questions, plenty of motives, and plenty of suspects ... but so few answers ...

 

The story follows poor Jessica as she must not only cope with her sister's death and Stephen's grief, as well as her own growing attraction to her sister's husband - but she must also face the various attempts to scare, injure, and even kill her.  Plus, there are the mysterious appearances of a ghostly woman in a shawl, wearing the same perfume that Ann wore.  Is her sister's spirit really come back from the grave, or is someone simply trying to make Jessica think that so she will leave Briarcliff and never look back.  

 

There can be no doubt that Ross knows how to build suspense and tension (he certainly had plenty of practice!).  Unfortunately, he spends so long building up the mystery that when the resolution comes, it is a bit of a let down.  For 200 pages of great Gothic storytelling, Ross resolves the mystery, has Jessica face off against her adversary, and gives her a happily-ever-after all within the last four pages of the book!  I don't recall ever seeing a story wrapped up in such a short amount of pages before - I would have preferred to see a more dramatic confrontation, with lots of dramatic fighting and scares before the truth is revealed and the villain ultimately vanquished.  I think this is the first Harlequin Gothic that did not give me full satisfaction with the read, which is surprising, since Ross is one of my favorite authors.

 

The cover art, depicting the scene where Jessica awaits to not only smell the scent of her dead sister's perfume, but also finds one of her sister's handkerchiefs on the floor (p. 99), was pained by Len Goldberg (a/k/a Leonard M. Goldberg), who also provided the cover art for two prior Harlequin Gothics:  Castle at Jade Cove and The Blue House. A superb artist, Goldberg is an expert at capturing terrified expressions on the faces of his women, and it's almost a shame he did not provide the covers for all the books in this series!

 

The next book in the series is also by Ross, so we will see what that holds in store...

 

RATING:  8 large carriages careening off the side of a cliff out of 10 for a psychologically thrilling tale of ghosts, mystery, suspense, and moments of terror!

The Mystery of the Tolling Bell - A Book By Any Other Name, No. 2

Way back in 1946, Grosset & Dunlap first published the twenty-third Nancy Drew mystery, titled The Mystery of the Tolling Bell.  About twenty years later, Christian Literature Crusade, with permission by Pickering & Inglis, Ltd., published a book written by Ellen Jane MacLeod by that same name (The Mystery of the Tolling Bell), which I happened across by pure chance at a local used bookstore.  Now, here we are a year later, and wonder of all wonders, I come across yet a THIRD title by that same name!  Now, I realize that some titles have a tendency to be used over and over (such as common phrases like "Double Indemnity" or "Web of Lies" or such); but for this unique of a title to be used not once, not twice, but three different times by three different authors in three different decades - well, the coincidence is uncanny!

 

This version of The Mystery of the Tolling Bell is written by Alan E. Losure, is an Indiana writer who enjoys writing historical fiction.  Unlike the previous two stories, Losure's tale is a murder mystery written for an adult audience, nor for children.  That does not mean it has sex, violence, and foul language; rather, it means the subject matter (murder!) is not something normally intended for children to read.  Additionally, while the two books for young adults were set in the present time (well, "present" as far as the date when they were originally published), this story is set back in 1898, just before the turn of the century.  Thus, there are no motor cars that would enable to characters to speed from one place to the next, and telephones are about the only technological advance - we're talking about "old west" style living, with saloons, general stores, and such.  However, as the title would suggest, the mystery does involve the mysterious tolling of a bell - in this case, warning the citizens of Gas City, Indiana that death is about to come to their small town!

 

Losure does write an interesting story that is multi-layered and not as clear-cut as one may expect.  In fact, the book is broken up into two parts - the first part being "The Mystery of the Tolling Bell" and the second part being "Doctor Death."  While the underlying mystery is threaded through both parts, they actually have very distinct factors driving the plots.  In the first half, the story centers around Herbert Ainsworth, a young man graduating from the local high school, who, at his graduation ceremony, announces to the townspeople how he has suffered at the hands of three other young men in his class for the past four years and warns them that their time is coming - theirs, as well as the school administrators who allowed the bullying to continue unchecked.  The second half of the book is focused on members of the mob who come to Gas City to begin an "insurance" racket, forcing the businesses to pay part of their profits for protection from ... well, protection from the very people to whom they are being forced to pay the insurance!

 

 "The Mystery of the Tolling Bell" is the mystery that asks - who tolls that school bell before each murder (or attempted murder)?  The bell is high up in a tower, behind locked doors, and no one is ever seen anywhere near the scene at the time.  Yet, each time that bell tolls thirteen times (made me think of the Penny Parker mystery, The Clock Strikes Thirteen), and each time, there is a murder, or an attempted murder, at least.  All clues point to poor Herbert, who threatened the other boys in his class, since the two who are murdered were two of the three boys who bullied him, and the one who was nearly burned to death in his own outhouse was the school superintendent. Herbert claims he is innocent, and it is not until the last remaining bully is caught trying to torch Herbert's small shack that the town realizes it was actually that third boy - or was it?

 

This is where "Doctor Death" begins.  With the third bully hauled out of town to face criminal charges at the county seat, the citizens of Gas City think the horrors have ended.  But then the bodies start to pile up again, each one with a note signed by "Doctor Death," warning of more to come!  While this is going on, some out-of-town mobsters have made their way into Gas City and have set up an "insurance" scheme to force businesses to pay for their protection - and when they find out about Herbert's amazing mathematical skills, they threaten him into helping them.  Ultimately, Herbert comes up with a plan to outwit the crooks, while, unbeknownst to him, the real killer has entered the wrong house to do his next killing.  As the story reaches its climax, some startling secrets are revealed (including the REAL reason behind all of those killings) and a statewide criminal organization is finally brought to its knees.

 

Losure writes a great mystery that is fast-paced, yet still has time to fully flesh out all of his characters so that the reader actually feels for each and every one of them.  In addition, Losure includes considerable photographs of people that he identifies as the characters from the story, as well as vintage photos of various sites from around Gas City during the 1890s. At the end of the book, Losure explains about his use of the Cabinet Cards to "enhance the story" by giving a physical face to each of his main characters.  As far as the use of the tolling bell, this was likely taken from the old expression that "when a bell tolls, someone is going to die," which expression is said to be rooted in the tradition of churches ringing bells to announce that someone has passed away.

 

Overall, a pretty good read, even though there were a number of spelling errors and mixed up names (at one point, Herbert is sent to the telephone company to review the books and try to correct the payroll ledgers - when he enters the building, the story says "Wilbert assured them that it was his top priority" [p. 234], when it was actually Herbert who assured them), leaving me to wonder if any editing was done before the book was published.  I enjoyed the revelation as to the killer's identity and motive, and the pictures scattered throughout the book DID enhance my reading of the story.  At the end, Losure breaks the fourth wall to ask the reader "what will the future hold in store for them and a few other characters?" to which he informs the reader that such "answers will be contained within the pages of my next book" (p. 238).  Those two lines gave me a nostalgic feel of the old children's mysteries from the '30s, '40s, and '50s when each book would give a small tag at the end, letting readers know what the next book would be.

 

RATING:  9 helpings of salted meats, breads, and pickles out of 10 for a great mix of history and fiction with the superbly plotted murder mystery at its heart!

Harlequin Gothic Romance Series No. 32008 - Legacy of Raven's Rise

"She set out to unravel one mystery, then found herself caught in the grip of another, more deadly..." (cover blurb)

 

This eighth Harlequin Gothic Romance is the second of author Helen B. Hicks' three gothic tales for this series. Hicks seems to have an affinity for stories set in California during the 19th century, as both her first book (Castle at Jade Cove) and this book find the young heroine of the story making her to a small town in California where she must face the secrets of the past.  There are definitely some similarities between the two books, but there are sufficient differences to keep the story fresh and engaging.

 

Legacy of Raven's Rise tells the story of Selina Ames, an orphan who was raised by foster parents, and who has come to Bittercreek, California in response to a mysterious letters she received, indicating the secrets of her past might be unlocked in this small town.  In a way, Selina reminds me of Victoria Winters from the Dark Shadows saga - a young girl who knows nothing of her true parentage who travels to a somewhat remote location where there is a dark mansion overlooking the town, from which she hopes to unlock the secret of her past.  I suppose that trope is a somewhat tried and true scenario for gothic tales, as it is steeped with so many of the proper elements - veiled secrets, dark houses, mysterious pasts, and young women desperate to find their identity.  Hicks does not make Selina's identity the main focus of the story, although the reader does not realize it until about half-way through the book.

 

From the get-go, the only clues Selina has to her past is the strange note beckoning her to Bittercreek and the enormous emerald ring, surrounded by diamonds that her foster father gave her before he died, indicating it was from her mother.  While the note does not lead her to to any answers, the ring definitely does!  As soon as Selina arrives in Bittercreek, she is met with hostility from the townsfolk - the only ones who are nice to her is the gentleman who road with her in the stagecoach, the owner of the local newspaper, and the town's doctor.  The hotel clerk is downright rude to her, and the rest of the townspeople merely stare and whisper behind her back. She soon learns it is all tied into that dark house overlooking the town - the house called Raven's Rise.  It seems the owner has died, and if no heir appears to claim the fortune left behind by Raven Winfield, then the house and all of the other Winfield assets will revert to the town.  Well, you can pretty much guess what "secret" is going to come out about Selina...

 

As indicated, Selina's past is not really the big mystery of this novel; rather, the mystery involves her grandmother's strange hold over the town and the people in it - especially the banker and the mayor.  There is also the rumor that Raven's Rise hides somewhere within its walls a great treasure, and someone is determined to find it.  Then there are the stories about Raven's ghost haunting the halls of the great house.  And when Selina sees a small light in the windows when the house is dark ... when she hears her name being whispered ... and when she is sure there is someone in the house with her, watching her ... it is all she can do to keep it all together.  Marcus Hannaford, the charming man from the stagecoach, urges her to sell the house and leave town.  The town doctor encourages her to abandon her hopes of staying in the great house and move back to San Francisco.  Even Jared Newcomb, the newspaper editor, questions her decision to keep the house, when the townspeople clearly do not want her there. But the more she is told to leave, the more determined she is to stay.  e

 

Interestingly enough, Hiram and Dulcie, the handyman and housekeeper at Raven's Rise who stayed on after Raven died, do not have any animosity towards Selina at all.  In most gothic tales, the household staff are either extremely antagonistic, not wanting the interloper to be in the house, or they are actually the villain(s) of the story.  In this case, Hicks does not play up to the reader's expectations, and instead, Hiram and Dulcie welcome their former employer's granddaughter into the house and do what they can to protect her - not only from the town's feelings about her, but also from whomever it is that is "haunting" the house.  I rather like this twist, as it is nice to read a tale where the heroine has someone who will support her and have her back when there is so much doubt about those around her.

 

The mystery slowly begins to unravel for Selina, as she learns that Raven Winstead was not exactly the woman she believed her to be.  Blackmail, revenge, murder, unrequited love, and a runaway daughter are all tangled into an intricate web of betrayal and deceit, and Selina must ultimately decide whether she will pick up where her grandmother left off, or whether she will put an end to the legacy that has haunted Raven's Rise for decades and walk a different path.  Can she allow the murderer of her grandmother's love get away with it?  Can she forget why her mother ran away and never looked back?  Can she escape the one who is intent on frightening her from the house so he can lay his hands on that elusive treasure?  It all makes for a rather dramatic conclusion (with a couple of surprising twists) that leaves the reader well satisfied with the outcome.

 

Once again, Harlequin offers up another gorgeous painted cover for this title, but fails to identify the artist.  The scene, with Selina running out of the front gates of Raven's Rise in the dead of night, casts the right amount of gloom and shadow to set the right atmosphere for the story.  I truly love the cover design and art for this series, and I would love to one day find some of the original paintings used for the cover art.

 

RATING:  10 overtrimmed silk lamp shades out of 10 for a gothic tale of mystery upon mystery, with some great soap opera-style themes of blackmail and betrayal thrown in for good measure!

The Heir of Starvelings - a Gothic Novel of Innocence and Evil

This book is one of those that I picked up because of the cover art.  Yes, yes, I know the saying - don't just a book by its cover.  Yet, there are plenty of times that I see cover art that just cries out for me to pick up the book, and this is one of those instances.  However, it was more than just the heavy greens and blacks and the beautiful blond woman - as it turns out, this cover appeared on at least two different gothic titles!  But I'll get into that later.  There was also that title that caught my attention - a unique title that begs the reader to open the cover to find out just want it means (although, let's face reality - I don't think any title is quite as unusual as Let the Crags Comb Out Her Dainty Hair).  Thus, the book ended up in my hands and ultimately among the stacks of gothic novels I have yet to read.  Only, now, this one has been read...

 

The Heir of Starvelings is, as the title page describes, a tale of innocence and evil. First published in 1967 (my copy is a reprinting by Dell in 1968), it was written by Evelyn Berckman, who is known for her post-war detective fiction.  She was born in the United States, but later moved to England in the 1960s.  She also wrote a number of plays and historical non-fiction, as well as horror and gothic novels.  A quick search online reveals that The Mugar Memorial Library at Boston University has a collection of the author's manuscripts, including early drafts and final proofs (The Evelyn Berckman Collection). This is the first work by Berckman that I've read, and although it gets off to a somewhat lackluster opening, the story does pick up to the point where I was glued to the pages, unable to close the book until I was done!

 

The story centers around lovely Davina Milne, the daughter of the Reverend Frederick Milne, who lives in a small English town, near a decaying old house known as Starvelings.  There are plenty of rumors about the seemingly abandoned property and its owner, Lord Stanyon. These rumors mean nothing to Davina, who is mourning the death of her fiance, Nevil Stonor, of whose death she and her father were notified from the war office. Fate plays a wicked game, though, and an attorney for distant relatives of Lord Stanyon appears on her doorstep, looking for a governess for Lord Stanyon's young son. Although the offer was not meant for her (the lawyer came to see if Reverend Milne knew of any women in town who might be hired), Davina knows this is the thing she needs to distract her mind from Nevil's death.  The lawyer, Mr. Truscott, warns her that not only is the boy wild, unbathed, and likely unlearned, but Mr. Stanyon and his servant, Porcher, are difficult men who will not make her job any easier.  Davina is insistent, giving Mr. Truscott and her father no other choice.

 

Davina is not your typical gothic heroine.  From the very start, she is determined, she is strong, and despite her grieving soul, she finds sympathy and concern for the young William Stanyon.  She quickly learns what incentives she can use to not only get him to wash, but also to practice his speech, writing, and reading.  Despite his rebellious and wild side, she manages to gain his trust while exploring the mysteries of Starvelings.  Where is Lady Stanyon?  Why is William so afraid of the Folly on the grounds?  Who struck William so hard as to cause a loss of hearing in one ear? What happened to the Staynon's fortune? And how can Davina save William from the tragic life to which he is subjected in that house?  Davina sets out to find answers to all of those questions, even though it puts her in danger, not only from Porcher, but from Lord Stanyon himself.  As for Lady Stanyon, well, she is nothing at all what Davina would have expected, and she seems to be more afraid of Porcher than of her own vile husband.  Berckman provides readers with a dark and sometimes depressing mystery that throws in a few twists and turns before it is all revealed in the end.

 

And Berckman's descriptions - she certainly sets the mood with the detailed pictures she creates of the aging house, the overgrown grounds, the moody inhabitants, and the desolation and emptiness within the halls of Starvelings.  The reader immediately sympathizes with William, roots for Davina to overcome all of the evil within the house, and is disgusted by Porcher and Lord Stanyon - especially near the end when Davina has a final confrontation with the two men in the dark recesses of the Folly, which holds some of its own mysteries.  Berckman also includes some very human aspects to the story, with William's fascination with the Queen and his ardent desire to meet the Queen, a wish that surprisingly gets granted in part thanks to Mr. Truscott's feelings for Davina.  Yet, despite having his wish fulfilled, it is bittersweet, as a part of that dream did not see fruition, bringing bitter disappointment to a young boy that could not understand the full impact of the opportunity that he had been given.  Scenes like this are what tug at the heart of the reader and make it all the more real.  That being said, I was pleasantly surprised by an unexpected event at the end of the story, which took the characters in a much different direction than I would have ever anticipated.  I won't spoil it, but I will say that it is most definitely an ending that Davina deserved!

 

Now, some other unusual aspects about this book that are worth mentioning are the dedication, the introduction, and the epilogue.  Berckman dedicates the book "In Memory of Rupert Gunnis, Who Told Me This True Story."  This leads directly into the one-page foreward, "Rupert Gunnis, 1899-1965."  The author provides readers with a bit of background on Mr. Gunnis, who was a real person, a historian as well as collector of British sculpture.  Berckman indicates this story founds its origins in Gunnis' love of buried historical facts, and although she changed the names of the persons involved, the geography and events are said to be true.  Gunnis also appears in the epilogue, which is set nearly 70 years after the events of the story in 1855, and in which young William is now an elderly man, searching for a connection to his past in paintings now owned by another family - paintings that fate uses to bring Gunnis and the elderly Lord Stanyon together, bringing the story full circle.  I don't believe I've ever seen an author meld alleged truth and fiction together to create a story like this, and its curious nature certainly adds to my liking of this tale.

 

Going back to the cover art, depicting Davina as she walks through the halls of Starvelings, that painting of Lord Stanyon just behind her, I wish the artist was identified, as the shadows, the colors, the expression, the candles - they blend so perfectly to create the somber mood that permeates the story within.  And, apparently, Dell (who published this edition of the novel) liked the art so much, the company reused that same art just three years later in 1971 on the cover of its Gothic Romances magazine (issue 2 of the 3-issue series of magazines containing short gothic tales by recognizable authors such as Dorothy Eden, Virginia Coffman, and many others).  The larger art on the magazine cover loses a lot of the shadows from the top and left side, but it does give us a better look at young Davina's face - a face that very much resembles that of Nancy Barrett, the actress who played Carolyn Stoddard in the gothic television drama, Dark Shadows.  Makes one wonder if the author perhaps used Ms. Barrett as a model for this cover art.

 

Having read this book, my search now begins for Evelyn Berckman's other gothic novels...

RATING:  9 peer robes of red velvet out of 10 for a gothic tale of an innocent child, a vile father, an evil servant, and a strong-willed governess ... and a god-forsaken house filled with secrets and broken dreams.

The Ninth Veronica Speedwell Mystery - A Grave Robbery

It's been almost a year since I read the last Veronica Speedwell mystery, but with all the books I've read in-between, it seems so much longer than that.  I really wish these books came out more often, as I gobble them up, and once I'm done reading one book, I am ready for the next - but find myself having to wait a whole year before I can get my next fix of Veronica and Stoker!  But, of course, each book is well worth the wait.  Deanna Raybourn is a master storyteller, and her way with characters brings them to life like few other authors can.  One readily feels like they know (and love!) Veronica, Stoker, and all of the supporting cast who come and go throughout the series, and so when each new book comes along, it is merely like reacquainting one's self with a friend who has just returned from a long trip and is ready to share their latest adventure...

 

A Grave Robbery, thankfully, finds Veronica and Stoker back in their familiar relationship, enjoying their usual fun banter, when their host brings them the most unusual oddity - a waxwork woman that he wants Stoker to install with mechanical workings to make it appear as if the was figure is breathing as she sleeps.  Stoker is all too ready to perform this task, especially since it is for the benefit of their benefactor's young daughter, Rose. There is only one problem - when they begin to study the female figure, they are shocked to learn she is not a waxwork at all, but, rather, an actual human being, perfectly preserved - and most definitely dead! So, this raises the questions - how did she die? how was she so perfectly preserved? who was she? And most importantly - who did this to her?  Thus, Veronica and Stoker are off on their next great adventure, to solve the mystery of the waxwork beauty!

 

Raybourn has crafted a wickedly good tale, full of unexpected twists that remind the reader that with these mysteries, one never quite knows what will happen next.  Lord Rosemorran insists that no police be involved, as he does not want a scandal surrounding his purchase of what he thought was a waxwork figure. Thus, Veronica and Stoker must resort to more private means of learning the truth about the poor woman they have come to refer to simply as "Beauty" (after the obvious similarity to the sleeping fairy tale character); which is a perfect opportunity for Raybourn to bring back the oddities of Professor Pygopagus' Travelling Curiosity Show (after all, who else better to ask about the strange nature of waxwork figures than those odd individuals who made up the circus of which Stoker used to be a member!), as well as the beloved J.J. Butterworth, the lady reporter who was one of the few people in the world to know the truth of Veronica's heritage, and Detective Inspector Moraday, a member of the Special Branch of Scotland Yard who Veronica knows can be trusted despite his affiliation with the law. Besides, J.J. and Moraday's irritation with Veronica and Stoker's adventures is too much for Veronica to resist...

    Mornaday covered his face with his hands while J.J. gave me a level look.  "I swear before the almighty god, Veronica, if this is another of your ridiculous and outlandish investigations-" she began.

    "Oh, nothing like that," I put in hastily. "It is just that we seem to have acquired a body."

    Mornaday peeped through his fingers, clearly intrigued in spite of himself.  "A body?"

    "Whose body?" J.J. demanded.

    "That is what we were hoping you could help us discover," Stoker said.

    "But how?" J.J. asked.  "How does one simply acquire a body?"

    "Ours was purchased at an auction," I told her.

    Mornaday groaned again, and Stoker passed him the decanter as I rose.

    "Come along," I said briskly.  "Let us introduce you to the Beauty." (p. 98).

 And if that doesn't whet your appetite for this fun little mystery, I don't know what will!  Raybourn has a way with her characters and dialogue that bring them to life in such a way that you can't help but love each and every one of them.  They are all quirky in their own way, and it makes for a much more enjoyable read to have characters that are real, flawed, and come to life on each and every page.

 

The story takes a rather dark turn, as it involves scientific experiments that border on the fantastical fiction side of things, along the likes of Dr. Frankenstein himself.  Our intrepid investigators learn that one Julius Elyot was researching the ability to bring the dead back to life, with the help of his sister, Eliza, and the wealthy Lord Ambrose.  Unfortunately, Julius Elyot died fifteen years prior in a fire, and Eliza Elyot, despite her affinity for scientific endeavors, has never fully recovered from the death of her twin.  Lord Ambrose Despard, on the other hand, is more than willing to welcome Veronica and Stoker into his home, to show off his myriad of collections, including that of waxwork figures known as Anatomical Venuses, which, it turns out, were actual, life-sized wax figures of women used by universities as teaching aids to their medical students back in the late 18th Century and well into the 19th Century (Anatomical Venuses), showing Raybourn did her research when weaving this into her story.  Of course, Lord Ambrose clams up when Veronica and Stoker begin to question him a bit more, starting them on the path to uncovering the truth behind the Beauty and the madness that led to her creation!

 

Perhaps one of the most amusing scenes in the entire book (which does, incidentally, play a very important part in answering several questions about the mystery!) is when Veronica and Stoker attend a "tableaux vivant" at the Curiosity Club for Woman, in order to have an opportunity to meet Eliza Elyot and her companion, Undine Trevelyan (as Stoker so eloquently asks, "Why do they all have such unfortunate names? First Parthenope Fleet.  Now Undine Trevelyan.  Why do we never meet a Mary Smith?  I should like, just once, to meet a Mary Smith" [p. 168]).  Although "attend" is not really the proper word - "participate" is more appropriate, since the only way Veronica could get her and Stoker into the event was to agree to pose as one of the living portraits ("tableausx vivant" does mean "living picture" after all, and this type of performance art is a real thing, as well).  With Stoker dressed only in a loincloth and Veronica in a flowing silk gown of blue pose as Samson and Delilah, based upon a painting by a Basque artist named Echena (p. 174) - who just so happens to be a real artist by the name of Jose Ignacio Luis Echenagusia Errazquin (Jose Echena).  The reactions of the patrons, as well as what happens next when Veronica and Stoker attempt to meet up with Elyot and Trevelyan (while still in costume, mind you) will have you smiling, chuckling, and ultimately cheering!

 

I do sincerely hope that one of the new characters introduced in this story, Wilfred Plumtree, makes a return appearance at some point in the future.  He was fun and, like of the rest of them, quite quirky enough to fit in with the rest!

 

Raybourn will keep you guessing, bouncing back and forth between suspects, but there are a few subtle hints dropped along the way that will lead you to the right culprit if you really pay attention (although, to be honest, they did lead me to wrong person first, until a person thought dead is found to be alive, at which point, I realized what was really going on!).  This is another truly captivating story that will leaving you wanting for more by the end - and there had better be more adventures of Veronica and Stoker, because that last page has left me wondering if A Grave Robbery is the end of the rails for our dynamic duo! Please say it isn't so!!

 

RATING:  10  awls out of 10 for an inspired mystery of stolen corpses, horrific experiments, deadly weapons, and one exuberant little golden lion tamarin with a deep affection for Stoker!

Harlequin Gothic Romance Series No. 32006 - Double Masquerade

"She was unaware of the bizarre web of deceit being spun around he - until it made her its target..." (cover blurb)

 

This is the second of the two Harlequin Gothic Romance novels written by Dulcie Hollyoak, the other being published just two books prior to this one (An Innocent Madness).  Hollyoak is the first author in this series to have two books published in it (although there are other authors who have more than one book in the series - Hollyoak is simply the first).  As with the first book, this one is set in Ireland during the 19th Century, during the great potato famine that occurred between 1845 and 1852, which resulted in mass starvation, disease and emigration in the country.  As with Hollyock's prior entry into this series, the story is dark, and the young lady in distress faces some what appears to be inescapable circumstances!

 

Double Masquerade (the title made me think of the Nancy Drew mystery, The Twin Dilemma) is the story of Hannah McCabe, an adopted peasant on the Irish countryside during the harsh conditions of the potato famine in the year of of our Lord, 1848.  Hannah's adoptive father has died, and her mother is being evicted from their home.  Hannah assumes she will go with her mother, Anna, and her two adopted sisters; however, fate has other plans.  It seems Anna has willingly given Hannah to be returned to the Big House, Balaleigh, where she was born to a lady's maid to the countess who resided therein.  The house is run by Mr. Scott-Ryan and his wife, Mrs. Scott-Ryan, with the overly stern housekeeper, Mrs. Rundle, and her nosy maid, Katie.  The countess, who will 103 this particular year, only returns to Balaleigh on special occasions.   Hannah is uncertain why she was brought back to the great house, and no one will tell her - but one thing is crystal clear - no one wants her there, and everyone things she is up to some devious trickery.

 

Poor Hannah is a lot like Victoria Winters was during her tenure on Dark Shadows - completely clueless as to what is going on around her, and sadly naive enough to believe the things she is told. Hannah even has the same dark hair as Victoria, and the disclosure of her ultimate true identity bears a striking similarity to the revelation that would have occurred with Victoria had she remained on the show.  But in the early part of the book, Hannah is filled with questions that remain unanswered and succumbs to the fact that she has no other choice but to do as she is told in a household of people who appear to resent her.  Well, not everyone does.  There is Richard Ralston, a man whose position in the house is unclear, but to whom, Hannah finds herself becoming attracted, even if only because he treats her with some small level of respect.  It does not take long, however, for the terror to begin.

 

Hannah gets tricked into being locked in a dungeon, only to escape with the help of a wild-haired old man that she thinks may be a ghost! She is nearly crushed by a rock that comes crashing down from the high wall of one of the turrets (p. 39).  This seems to be a common trope in these gothic novels, as I can recall several books other than this one where someone pushes a rock, a gargoyle, or some other heavy object from a high wall in an effort to do away with the young ingenue.  She is sexually assaulted (but thankfully not raped!), and she is tricked several times into wearing clothes that belonged to the master's dead wife or going into places where she has been warned never to go.  Ultimately, she learns the truth behind the countess' longevity and Mr. Scott-Ryan's plans for her, which all lead to her being locked up like Rapunzel in the high tower room with no hope for rescue.  And even after all this, Hollyock is not content to give her a reprieve, for when she does find a way of escape, Hannah is tricked a final time, where she finds herself trapped in a workhouse with other orphan girls, all of whom will be shipped off to Australia to become servants to the upper class living there!  Does the poor girl have any chance at a future?  Well, this is a typical gothic, so what do you think?

 

Hollyock keeps the story set entirely in Ireland, and in particular, the slowly dying area around Balaleigh. While no such house exists (that I was able to find), there is a townland in Ireland called Balally in County Dublin.  There is also the Thoor Ballylee Castle near the town of Gort in County Galway, Ireland.  Thus, Hollyock may have taken her name from either of these Irish settings.  However, Hollyock does make several mentions of Australia in the story, as Richard Ralston is establishing a life for himself there and intends to take his new bride (will it be Lady Caroline or Hannah?) to live there as well.  Yet, Hannah seems to have no knowledge of Australia, and Richard must tell her about the koalas and kangaroos and the fight for survival there.  Some research reveals that Hollyock based her workhouse girls on historical facts, as it seems more than 4,000 young female orphans from Irish workhouses were deported to the Australian colonies during the years of the potato famine to be sold as household servants for the wealthy.  As for Hannah's lack of knowledge of Australia, that is somewhat odd to me, since the research shows that Irish were going to Australia as early as the late 18th Century; however, in the early years, a large portion of those transported were convicted criminals - free settlers did not really start emigrating there until the 1840s when the famine began.

 

Another factual reference in her story is Hannah's reading of the serial, "Vanity Fair," in Punch (p. 60). As it turns out, Punch was a weekly British magazine which began publication in 1841, just seven years prior to the setting of this story.  The story, "Vanity Fair," written by William Makepeace Thackeray, was a 19-episode serial published from 1847 to 1848 in Punch, and therefore, when Hannah is said to be reading the issue (Spring of 1848), she would have been near the end of the story, since it concluded in the July 1848 issue.  Thus, once again, Hollyoack is accurate in her use of factual instances, whether it be historical events or published works.

 

I do like the fact that the author uses a locket as a key focal point of the story.  From the moment Anna McCabe thrusts the locket into Hannah's hand just before she is whisked off to Balaleigh, to the time when it is taken from her and she is accused of stealing it from the Scott-Ryan family, the reader knows that the locket holds something vital that could change everything.  The gold locket seems to go from hand to hand and person to person (sort of like that pesky bleeder valve in Dark Shadows), and when the contents are finally revealed and Hannah learns the truth, it comes as a huge relief to the reader - a sign that, in the end, everything is going to work out and Hannah will finally get the happiness she deserves.  There always seems to be some inanimate object that is the focal point of these gothic stories - whether it be lockets, broaches, letters, albums, or other items - and they manage to become the clue that provides a solution to whatever mystery is lurking behind the ancient walls of the dark, brooding homestead where the young, innocent woman finds herself.  It is part of what makes the gothic mystery so enjoyable, and it is something that carried over into the early children's mysteries of the first half of the 20th Century, such as in Nancy Drew (The Clue of the Broken Locket, anyone?), the Dana Girls, and their contemporaries.

 

Another great win for both the Harlequin Gothic Romance line and for Dulcie Hollyock, librarian and author!

 

RATING:  10  plates of stale bread and cheese out of 10 for spinning a gothic tale of terror, mystery, and suspense that keeps the reader fully engaged from the first page to the last!

Harlequin Gothic Romance Series No. 32004 - An Innocent Madness

"What strange dark presence transformed the majestic Rathmay into a prison?  Charlotte only knew it must be destroyed..." (cover blurb)

I definitely have to hand it to Harlequin - whey they made the decision to publish this Gothic Romance line of books, they definitely sought out some great writers and some fantastic stories.  Four books into the series, and I have found each and everyone of them to be engaging, well written, and thoroughly enjoyable.  This fourth book is written by Dulcie Hollyock, which is the author's real name and not a pseudonym.   Hollyock (1914-2004) is an Australian author who served as the Chief Librarian of the Victorian Teaching Training Colleges for more than twenty years.  She authored a number of short stories and articles, and it was not until she was in her 70s that she had her first two novels published, both in the Harlequin Gothic Romance line.  Ironically, both of her stories are set in Ireland, and both books feature a male protagonist by the name of Richard.  More information about Hollyock can be found at University of Melbourne Archives - Dulcie Hollyock.

An Innocent Madness, the first of Hollyock's two gothic novels, is the story of Charlotte Bolton, a young British woman whose grandmother has decided she is of the age where she must be married. Charlotte wants to marry for love, but her grandmother arranges a marriage with one Richard Chivers, the heir of the Chivers' fortune and homestead, Rathmay, better known as Rathmaiden.  The only problem is, Charlotte arrives in Ireland and is unceremoniously dropped at a crossroads with her large trunk of belongings. Leaving the trunk behind, she makes her way to the small town of Newton Maiden, only to discover that no one at the old house knows who she is, nor are they aware of the arranged marriage.  She is reluctantly allowed to stay the night at Rathmaiden until the matter can be sorted out.  Charlotte soon learns that her intended is deceased, and the new heir is actually her betrothed's cousin.  To make matters worse,  the cousin (also named Richard) lives in the tower house behind the Raithmaiden, as the original Lord Chivers lost the main house in a gambling debt to a not-so-gentlemanly man by the name of James Giles, who is the new lord of the manor.  His housekeeper, Mrs. Kirby, makes it clear she does not want Charlotte there, but Mr. Giles seems to have other ideas (none of which appeal to Charlotte at all!).  When her trunk is not only not brought to the house, but is said to have disappeared, Charlotte is left with no clothes, no money, and nowhere to go!

Hollyock definitely puts poor Charlotte through the ringer in this mystery.  Giles and Kirby doubt Charlotte's story, and even Sarah (who makes it clear she is not the maid!) has her doubts.  When Dorothy Giles arrives, Charlotte thinks everything will be cleared up, as she had met Miss Dorothy a number of times at various social functions in England - but her hopes are dashed when Dorothy looks at her and claims to have no knowledge of her!  (She later recants and admits she knows who Charlotte is, not that it seems to matter to James Giles or Mrs. Kirby!)  The housekeeper continues her taunts to get Charlotte to leave, and Charlotte wonders how far the woman will go. A ruined dress, a warning note, and the discovery from the post office in town that someone at Rathmaiden had picked up Charlotte's trunk days ago leads Charlotte to suspect something much more sinister is going on in that house.  Charlotte manages to get a secret message mailed off to England, in the hopes her grandmother, or perhaps her grandmother's attorney, will see it and send help - but before that help can arrive, Mrs. Kirby plays the ultimate trick and accuses Charlotte of stealing Dorothy's clothes!  Charlotte is sent to jail, and there is an interesting turn of events as her godfather's nephew, Jeremy Carstairs, arrives with Lord Chivers to help prove her innocence - and Dorothy herself proves to be the very witness that could gain Charlotte her freedom.

The further one gets into the story, the more the readers begins to think that everyone is exactly who they say they are.  The wicked, nasty ones are just that - the evil villains; while the more reserved, caring ones are those who can be trusted and believed.  But after the trial, the continued delays in taking Charlotte home and the secrecy of some of the characters makes one think that perhaps everything here is not what it seems.  And one of the characters suddenly reveals themself to be Charlotte's ultimate enemy, the one that has been working behind the scenes the entire time to get rid of her - and the climactic scenes definitely take a very dark and twisted turn that makes this story well worth the read!

A few factual tidbits about the book.  While Hollyock refers to the town in Ireland as "Newton Maiden," it turns out the town of Maiden Newton is actually in Dorset, England, not Ireland.  There is, however, a Rathmaiden in Ireland, which is likely where Hollyock pulled the name for this story.  Hollyock also makes use of the real novel, The Widow Barnaby by Frances Milton Trollope, which Charlotte picks up in the library and reads while she is trapped at Rathmaiden (p. 38).  She refers to the book as being "just published" - and since the book was originally published in 1839, that would set this story taking place around that time.

For once, we do not get the standard two men - one good, one evil, but which is which? - story; no, Hollyock plays the tale different for this gothic mystery.  Instead, we get one man with a secret past that haunts him - a past that ultimately comes back to haunt poor Charlotte as well and nearly costs her her life!  I love the payoff at the end of the book, and Hollyock knows how to not only shock and surprise her readers, but also to provide her protagonist with a well-deserved resolution.  If Hollyock's second gothic in this series is half as good as this one, it will still be worth the read.

 

Finally, no idea who the cover artist is - but I love the scene and expression on Charlotte's face.  This depicts a scene near the end, when Charlotte is held captive and opens her long-lost trunk, only to discover it contains something other than her clothing!

RATING:  10 black taffeta skirts and cashmere shawls out of 10 for spinning a new take on the typical gothic tale with way more villainous characters than one would expect to find!

Harlequin Gothic Romance Series No. 32003 - Castle at Jade Cove

"She had become the focus of an evil she couldn't see, hear or feel - until it reached out its icy fingers to touch her ... " (cover blurb)

 

Well, with this book, it's three for three so far in this Harlequin Gothic Romance series of books.  All of the first three books in the series have been great reads.  And despite the first person point of view, of which I am not a big fan, the stories have been engaging, suspenseful, and while utilizing many standard gothic tropes, filled with just the right amount of mystery.  I could not find any information on the author, Helen B. Hicks, other than the fact that she (he?) wrote two other books in this Harlequin Gothic series, as well as a gothic romance published by Kensington under their Zebra line (Riversbend, published in 1987, a year after her last Harlequin was published).  Thus, I am not sure if Hicks is the actual name of the author or a pseudonym, as so many gothic authors are.  In either case, this book definitely has me looking forward to the other two books she wrote in this series!

Castle at Jade Cove is set in the 1800s and follows the journey of eighteen-year old Laurie Westfall from Massachusetts to California, where she has been sent by her now-deceased grandfather to live with the Howards.  It seems he had made a deal with Matthew Howard to look after Laurie should anything happen to him.  The only problem is, when Laurie arrives in Coventry and makes her way to the great house known as Jade Castle, she learns that Matthew is dead and his son, Jason Howard, is now managing the house and family business.  To make matters worse, Laurie has no money available to her, as her guardian back in Boston had control over her funds, and she may have accidentally killed him after he made inappropriate overtures toward her!

As with any good gothic, Jason permits her to remain at Jade Castle, as he wishes to honor his father's contract.  But Laurie quickly learns there are sinister secrets hidden within the walls of the great house.  The housekeeper, Mathilde, makes it no secret that she does not like Laurie and does not want her there.  The ranch manager, Ben Hollister, cannot hide his jealousy of Jason's wealth and position.  The woman who runs the boarding house in Coventry, Mrs. Speers, is blunt in her warning to Laurie to stay away from Jade Castle.  The cook, Yang Lee, is overly protective of his kitchen, with more than a hint of a threat behind his eyes at anyone who enters his domain.  The young lady, Annalee, is more than obvious about her intentions to win Jason Howard's heart - at any cost.  And then there is Jason Howard himself - a man who is said to care little about business and more about enjoying the pleasures of this life; yet, he is repeatedly leaving for San Francisco for days at a time for reasons he refuses to disclose.  Then there are the mysterious sobbings that Laurie hears at night - a woman's cries that everyone in the house insists are not real. Are they really a part of Laurie's imagination, or does the house harbor some dark mystery?

The typical gothic trope of the female protagonist's uncertainty between two men is played up well in this story, as Laurie falls head over heels for Jason, yet, at the same time, questions his motives and wonders if perhaps she should allow Ben to win her heart.  We also get the near-empty mansion with hidden rooms, a musty attic filled with relics of the past, and an almost soap opera-style secret that connects Laurie's own past to the history of this house and its family.  I also like the fact that the main character has a co-conspirator of sorts in the young maid, Jennie, with whom she finds not only a confidant, but also a willing helper with all of her plans (particularly the one to turn the tables on Annalee, who is dead-set upon keeping Jason out of Laurie's grasp!).  And I will admit, the mystery of the mysterious barges out in the cove, the secret tunnel leading from the house down to the cave on the shores below, and the plaintive cries in the night did turn out to have a rather unexpected resolution - not something I saw coming.  However, once Laurie learns what is really going on, she takes on an almost Nancy Drew-style "can do" attitude in wanting to put an end to the horrors taking place, even if that means putting an end to the man that she loves!

Hicks writing is strong, with the ability to build suspense and keep the reader wavering back and forth just as Laurie does in the story.  And when Laurie's connection to the Howard family does come out, it throws quite the monkey wrench into everything, leaving the main character in quite a quandary as to what to do next!

For once, we actually know who the artist is who provided the cover for the book, thanks to his signature on the art.  Leonard M. Goldberg gave us this beautiful illustration of Laurie running away from Jade Castle (a scene that is very reminiscent of Ruth Sanderson's cover art for Captive Witness, the 64th Nancy Drew Mystery Story which was published in 1981, three years prior to this book).  Goldberg was known for his covers to the Fu Manchu books, as well as many Harlequin novels and movie posters, and he even painted an iconic Camel cigarettes billboard in Times Square back in the day.  His talent is obvious, based on the magnificent cover to this book!

A good, solid read that was enjoyable from start to finish - looking forward to reading Hicks' other books in this series!

RATING:  10 silver and jade necklaces with matching earrings out of 10 for superb gothic suspense, mystery, and romance all rolled into one great story!