The Secret of the Devil's Cave - a Magnum Gothic original

This is now the second Gothic novel I've read that was written by Jennifer Hale (otherwise known as Frank E. Smith (1919-1984), the previous one being Ravensridge, published in 1971, just two years prior to this one.  The plots of both books are entirely different, but the stories are both exceptionally suspenseful and filled with mystery and drama.  I am still, to this day, awed at the ability of these male authors, back in the day, writing so well books aimed at a female audience, capturing so nicely the strength of their female protagonists without making them helpless (but giving them just enough danger to need a man to assist in their journey through the Gothic tropes).  While this book was also written in a first-person perspective (which I am not a fan of at all!), just like the previous book, I will still able to thoroughly enjoy and get caught up in the story. 

 

The Secret of Devil's Cave is a book I would have picked up on the title alone, as it invokes memories of all those children's series book titles from back in the day (The Mystery of ... / The Clue in ... / The Secret at ... / etc.).  The story centers around young Beth Nolan, whose father has died and left her property in the Ozarks of Missouri, on which is located not only a rather large mansion, but also some cave that goes by the name "Devil's Cave."  Beth is shocked, as her father never mentioned this property, and although Beth knows they moved from Missouri when she was three years old, she was unaware he had no sold all of the property the family owned at that time.  It seems her father had some secrets to keep, one of which is a mysterious photograph of a gravestone that is not engraved.  Who would bury someone, place a headstone at the grave, and then not inscribe it?  Having no other choice, Beth temporarily closes the antique shop she and her father ran and travels to Devil's Cave to claim her inheritance.

 

Hale (a/k/a Smith) sets the mood of the story right from the get-go, with Beth driving through some extremely dense fog, lost within the Ozarks as she tries to make her way to the cave.  When she finally comes across a small gas station / general store, she is met with some hesitation when she asks directions to her destination. From the owner of the store, Beth learns the cave is said to be haunted, with people hearing voices calling out in the cave.  She also learns that two girls have died in the cave - one by accident (supposedly), but the other murdered.  And the alleged murderer was never convicted and still lives on the property that neighbors her own!  On top of all that, Beth also learns the Bratcher family lives on her property, having been there ever since her own family left, and everyone thought the family owned the land.  The store owner warns her the family will not be happy when she stakes her claim.  And, boy, he wasn't wrong!

 

Earl Bratcher and his wife are definitely none-too-pleased at Beth's sudden appearance.  Earl insists he has a signed contract with Beth's father, allowing him to manage the property and tourist attraction, yet he persistently makes excuses why he cannot show it to her.  The Bratchers' two sons - Walt and Mark - run hot and cold: Walt is sarcastic and clearly does not welcome Beth's presence, while Mark is a bit more reserved and takes Beth under his wing to try and protect her a bit from his family's harsh attitudes.  The Bratchers' daughter, Leda, is a bit of a wild child, one who happens to be in love with Charles Woodward - the very man accused of killing the young girl in the cave!  Then there is poor Flossie, Walt's wife.  She is not quite all there (being the product of inbreeding, as Earl so bluntly puts it), but Beth feels sympathy for her and tries to become her friend ... until she learns that some years back, Flossie killed her brother's dog and dumped it down the "bottomless" well inside the cave, all because her husband liked the dog better than her ... and she won't let her husband like anything, or anyone better than her ... including Beth!

 

There is definitely plenty of suspense and mystery in this book - who really killed those girls in the cave?  Why did the Bratchers close the cave, and what happened to the guest who disappeared while exploring the cave some weeks ago?  Is there really a hidden treasure somewhere within the cave?  Why does the father of a local artist have a painting of Beth in his house?  What is the secret behind the photo of that tombstone, and how will the answer to that question change Beth's life forever?  What surprising revelations are being held within the old trunk in the basement of the great house?  And just why does that old woman who claims to be a witch think that Beth is a dead woman come back to life?  What knowledge does she have about Beth, the Devil's Cave, and the Bratcher family that will reveal a past so dark and filled with lies and secrets that no one will come out unscathed?

 

This book proved to be a fantastic read, a page-turner that I literally could not put down until I had finished it.  The cover artist is not identified, and while I do like it, I have to admit it has some oddities to it.  Beth's hair flying up like that makes it seem like there's an air draft coming from beneath her (makes me think of that famous image of Marilyn Monroe trying to keep her dress down as the air blows up from below), and those lamp posts are all leaning inward, pointing toward the mansion behind Beth - not sure why the artist chose that kind of perspective, but it seems just a bit off.  However, the barren trees, the coloring of that sky behind the house, and Beth's expression definitely create a sense of terror that fits the story within.

 

That's two for two with the Jenifer Hale Gothics I have read, so it gives me strong reason to find the rest of her (his) Gothics and read them as well!

 

RATING:  10 glass coffins on display out of 10 for a superb Gothic mystery with just the right touches of supernatural suspense and hellish horror!

To the Dark Tower - a Magnum Gothic original

This is another one of those Gothic novels that I picked up because of the cover - in this case, it has a very slight resemblance to the Rudy Nappi cover of the Nancy Drew book, The Sign of the Twisted Candles.  Both books have a single candle prominently displayed on the cover, with the head of a woman next to the candle, and when I saw this book at the used bookstore, my mind immediately went to the Nancy Drew book, so I bought it.  It has been sitting on my shelf for several years, so I figured it was about time I read it.  The back cover blurb cries out "Witch Cult!" and goes on to give a brief synopsis of the story awaiting the reader inside.  Knowing how most Gothic novels of the '60s and '70s often hinted at supernatural tales (but by the end reveal it to be merely a pretense used by a vile villain to achieve his or her goals), I anticipated the same here.  Boy, was I wrong!

 

To the Dark Tower is a somewhat lengthy novel for a Gothic that is not labeled as "Queen-Size" or "Empress Size."  At 187 pages in length, it provides the author with plenty of space to flesh out his story and characters - and yes, I said "his" story.  Lyda Belknap Long is actually a pseudonym for American writer Frank Belknap Long (1901-1994), whose writing includes horror, fantasy, science fiction, and Gothic novels, as well as comic books and non-fiction.  "Lyda" is the name of Long's wife, and so he used her name for his Gothic novels (which is funny, because this particular book has a dedication at the front that reads, "To the untiring help and teachings of my husband, Frank Belknap Long."  I was surprised to learn Long wrote scripts for DC Comics, including stories with Congo Bill and the original Green Lantern, as well as scripts for Fawcett Comics' Captain Marvel stories (later known as Shazam!).  When I learned that Long was also a close friend of H.P. Lovecraft, the nature of this story made a lot more sense.

 

When the back cover says "Witch Cult!," it really means it.  The opening Prelude, which is an impressive 18-pages long, does not even introduce readers to the main character.  Instead, we follow a young man named Willie who witnesses a ceremony deep in the Kentucky woods, watching in horror as a young woman is sacrificed to some unseen good.  When he tries to escape, hoping to find salvation in the nearby house of Dr. Wilfred Allen, he is stopped when a robed stranger steps out and leaves an object on the front door of the doctor's house - an object that the doctor finds and with great anxiety throws it into the woods.  Willie finds the object, which is a doll in the likeness of the doctor's female friend, Joan; but the doll has needles sticking into it, and before Willie can do anything about it, he is chased, ultimately meeting his untimely end.

 

Long then jumps to our main character, Joan Lambert, who is driving her car along the desolate backwoods Kentucky road, trying anxiously not to allow her fear to overwhelm her.  An archeologist, Joan has just returned from Spain, where she found some ancient cave writings that revealed a witch cult that existed centuries ago - and her exploration of those caves released an unholy, unseen terror that has followed her across the ocean to Kentucky!  She hopes Dr. Allen can help her get these terrors under control, but the sudden appearance of a man in a monk robe standing in the middle of the road causes her to swerve up an embankment.  What follows is a rather lengthy story of dark horror that wavers between the real and the imaginary.  Are Joan's fears grounded in reality, or are they all really just in her head?  Dr. Allen has invited a group of specialists to his secluded home in the hopes of helping Joan.  But when Willie's body turns up, and a young couple on their honeymoon wind up dead in their car at the bottom of a gully, it is clear there is more going on here than imaginary fears.

 

I do give Long credit for making the cult very real.  The deaths of Willie and the young couple (as well as another couple who stop to help them) are rather brutal and unexpected, making the book all that much darker.  What has me confused, however, is the title and the cover to the book.  To the Dark Tower would seem to hint that there is some tower of a great mansion involved in the story somehow - even the cover has painted a dark mansion in the background, behind Joan's floating head.  Yet, nowhere in the story is there any tower (not even mentioned in passing!), nor is there any house that would resemble the one on the cover.  In fact, there is also no candle used anywhere in the story!  The tale is set in the modern time, with motor vehicles, electricity, and such, so there is no need for any candles.  So, this begs the question - what prompted the title and the cover art?  I'm aware that many publisher used (and re-used!) cover art for their Gothic novels that had no real relation to the story inside; they simply wanted covers that would attract those who were hooked on the Gothic craze that had taken over store bookshelves everywhere.  But the title?  It has no connection whatsoever to the story, so one is left to wonder why...

 

I did like the fact the story was set in Kentucky, my home state.  I wish Long had narrowed down a location within the state, even if it was simply to have the characters drive through a specific area or mention a nearby town.  Instead, Long keeps it vague, simply keeping it in a small town with plenty of wooded area.  Even his references to Joan's time spent in Spain does not narrow down the location to any particular area of that country.   There are, however, a few names in the book that caught my eye.  When Joan meets the specialists at Dr. Allen's house, the men's names (which I'm guessing were arbitrarily chosen by the author) brought a smile to my face.  The first is John Claymore (p. 132), whose last name is also the name of a city used by Mildred Wirt Benson in her Madge Sterling series, her Penny Parker series, and a few other of her books.  The second is Joseph Moulton (p. 133), whose last name was the middle name of the creator of Wonder Woman (William Moulton Marston).  The third is Helen Traven (p. 133), whose last name is shared by novelist B. Traven, which was a pen name of an unidentified activist who authored a number of books between the 1920s and 1960s.  It is doubtful Long pulled those names from those particular places, but it is a fun coincidence.

 

The story is very heavy on exposition and very light on dialogue, which is one aspect that I did not enjoy.  The majority of the book focused on Joan's fears of the unseen terror that seemed to lurk just out of sight, always following her, always leading her to wonder if death might not be a better option than living the rest of her life with this fear overpowering her.  Long stays inside Joan's mind, with her obsessive fear completely taking her over, and after a while, you (as the reader) wish the author would ground the book in some level of reality with conversations and interaction with other people.  However, finding out after I finished reading the book that Long was friends with Lovecraft, it gave me a new point-of-view with the story, and I think I can appreciate his writing style a little more.

 

This is far from your typical Gothic novel of that era.  If you are expecting a story of a young, innocent woman being whisked away to a foreboding mansion with two men vying for her affection with dark secrets surrounding them at all every turn - this is not one of those stories.  But, if you want something a bit different, a bit darker, and a bit morbid, then this one is for you.

 

RATING:  8 peculiarly shaped musical instruments out of 10 for giving readers a completely different side of the Gothic tale. 

 

Dark Over Acadia - a Magnum Gothic original

This is one of those books that attracted me because of the cover.  Most gothic covers feature a variation on a young woman in a flowing dress running away from a dark, foreboding house in the background.  This cover, however, surprised me by featuring a young woman sitting in a wheelchair!  Yes, we still get the foreboding plantation house in the background (with the obligatory one light on in an upstairs window); however, the young woman on this cover is not running at all - rather, she is sitting, staring directly at the reader with an expression that tells you she is trapped and cannot escape whatever terror is waiting in that house.  Having never seen a gothic with an invalid such as this on the cover, I had to snag it and find out exactly what it was about!

Dark Over Acadia is written by Anne Talmage, who I discovered (after considerable searching!) is actually a pen name for Talmage Powell (1920-2000).  Powell began writing in the 1940s, his work appearing in many pulp magazines, such as Black Mask and Dime Mystery.  He has also had short stories appear in Alfred Hitchcock's Mystery Magazine and Ellery Queen Mystery Magazine.  He also wrote four books in the '60s as Ellery Queen.  From what I was able to learn, this book is the only gothic novel he wrote (and the only instance of his using "Anne Talmage" as a pseudonym, although he did use others over the course of his writing career).  The story is set in the swamp land of Louisiana in the early 1970s (the book having been published in 1971), and rather than a dark, unwelcoming house you find in most gothics, this book features a rather grand plantation manor known as Devereau House (and although it is not spelled the same, I could not help but think of Blanche Devereaux ever time I saw the name of the house and the last name of the family!).  

The main character is Diana Latham, a teacher from Kansas who travels all the way to Louisiana to spend the summer with Lucy Devereau, a friend she made while serving in the Peace Corps in the Peruvian Andes.  The two had become fast friends, and Diana was excited to spend the summer in the Devereau's great house.  But her excitement disappears when she arrives to find that her friend is bedridden and nearly completely paralyzed after a freak accident - a St. Joan statue in the crumbled chapel on the Devereau grounds fell over on her, leaving her unable to move or even speak. But Lucy begins to show signs of life when she sees Diana, and through a coded message (tapping out the letters of the words Lucy wants to say), she warns Diana that danger lurks within the walls of the house - and that her injuries were not the result of an accident, but rather, an attempted murder!  Diana is fearful at first, but her determination overcomes the fear as she realizes she must find out what did this to her friend and see that justice is served.

Talmage (Powell) provides readers with a number of quirky characters, any of whom could potentially turn out to be the evil behind poor Lucy's condition.  Lucy's father, Huxley, comes across as a kind, elderly patriarch, but the mere mention of Prospera Clantell sends him into a fury.  Lucy's brother, Antoine (Tony), is a hard one to figure out, since his outward appearance would mark him as a Cajun rebel, but his soft-spoken nature when it comes to Diana shows another side of him.  Lucy's cousin, Philip Lockridge, is all business, a dependable sort who takes a keen interest in Diana, much to the chagrin of his assistant, Robin Toutain - a woman determined to win Philip's hand and who makes no bones about removing anyone who gets in her way.  Then there is Myree, a housekeeper that Diana first sees as a "mangy old cat" (p. 46), but whose gruff exterior could just be a defense from a hard life lived.  There is also Clotidle (Cloty) Mathis, Lucy's governess, who has cared for her ward for  years and is praying Diana can get to the bottom of what really happened.  And one must not forget Ozar Fant, the Cajun drifter who lives in the swamps on Devereau property - a man that can be violent in one moment and tender in the next.  Finally, there is the regal woman known as Domina, who is a friend to Huxley and appears to know everything that happens in the swamp.  The Devereau family has its secrets, and one of those secrets has come back to exact a deadly price from this family!

I readily admit that I was engaged with trying to figure out which of these members of the cast could have caused Lucy's injuries and is now intent on getting rid of Diana.  A pitchfork launched at her from the upper floor of the barn ... locked in the mausoleum and left to die ... and more than once warned to leave Devereau House before it's too late.  I wavered a bit between a few of the characters, thinking each had a possible motive - but I was caught off-guard by the revelation of who was really behind the attacks; I did not see that coming at all!  Which, of course, made for a very nice surprise, as it kept this book from being predictable at all.  Thus, not only did the book offer a unique cover, but it provided a well-written tale of mystery and gothic suspense.

Along with the gothic, Talmage (Powell) provides readers with some of this history of this area of Louisiana. Lucy describes the area of Cajun country as "A world of its own, where the native dialect is a mixture of French, Spanish, English.  It's still more French-colonial than automated American. Fellow from the Indochina rice paddies could feel right at home there" (p. 9).  Diana also considers the Acadians who had first come to the area, driven south "when the British had wrested control of Canada from the French more than two hundred years ago" (pp. 9-10).  She even wonders "how the Acadians had picked such an unlikely, far-off destination ... Louisiana was French at the time, and the back-delta country offered peace and a chance to build in a land no one else wanted" (p. 10).  We even get a lesson on jambalaya, which Huxley explains, "was a ham and rice dish ... Jambon, French for ham, and a la ya, a sort of African for rice (p. 63).  In some ways, it felt very much like a Nancy Drew or Hardy Boys book from the Harriet Stratemeyer Adams era, when the books always seemed to include some sort of lesson on history, artifacts, or regions.  

This is one of those rare gothics where we actually know the name of the artist who provided the art for the cover!  The artist was Charles Lilly, who is probably best known for his painting of "Malcolm X" in 1973, which was used for the cover of Alex Haley's novel, The Autobiography of Malcolm X.  The cover for this book must have been one of his earliest professional works, as he graduated from the School of Visual Arts in 1970 (Artist: Charles Lilly), and Dark Over Acadia was published in 1971.  The cover is apparently representational in nature, since the scene never occurs anywhere in the book - Lucy is bedridden for the entire story, never sitting up in a wheelchair at any time.  The statue that can be seen in front of Devereau House on the cover likely represents the statue of St. Joan that falls on Lucy in the chapel behind the manor.  Nevertheless, the expression on Lucy's face, along with the dark green, black, and blues of the cover give it a very high creep factor that would send a chill down anyone's spine!

Just like the last Magnum Gothic Original that I read (Ravensridge), this is another gothic that I highly recommend - well written, great story, and a gothic tale that will keep you guessing!

RATING:  10 pairs of spectacles with one lens broken out of 10 for an unusual gothic tale, Cajun-style, with some of the most unusual names I've seen to date!

Ravensridge - a Magnum Gothic original

I had every expectation from the first page that I was not going to like this book.  With those opening two words, "My nerves..." (p. 5), I was already disappointed.  I am not a big fan of first person narrative. I can tolerate it when the story is sufficiently good, or if I am already a fan of the particular characters in the book.  But as a general rule, I prefer reading third-person narrative stories.  But, I took a breath and went on reading, figuring I could work my way through the story and at least see what happens and how it all turns out.  Well, despite the first person POV, by the third page of the story, I was thoroughly hooked.  And by the end of the book, I realized how glad I was that I did not put it aside after those first words.  This book has literally become on of my favorite gothic reads!

Ravensridge, published in 1971 under the "Magnum Gothic Original" imprint, was written by Jennifer Hale. According to the Paperback Warrior blog, Jennifer Hale is a pen name for Frank E. Smith (1919-1984), who was a successful author of police procedural novels.  Smith apparently used several other pseudonyms, but he began using "Jennifer Hale" for the five gothic novels he wrote between 1971 and 1978, including this one.  Thus, we have yet another male author hiding behind a female pen name for purposes of writing and selling gothic stories.  But I give Smith credit, as the story rates definitely on the high end when it comes to Gothic greatness.  The book has everything a reader will want to see in a gothic story - a dark, gloomy house; a mysterious family with secrets; the death of a past resident under strange circumstances; a young protagonist who is thrust into the middle of all this darkness; threats that escalate as the story progresses; and danger, suspense, and mystery that keep the reader turning page after page after page!

Melissa Manion is the heroine of this particular novel.  She is a professional photographer who has come to Ravensridge at the invitation of her friend, Charles Courtney, to photograph the house and all of its priceless antiques.  But from the moment she arrives on the dark and stormy night, it is clear things are not right at the old house.  The housekeeper, Miss Kane, has no idea who she is or why she is there, and she makes it clear to Melissa that she is not welcome.  Charles is not at home, and Charles' older brother, Philip, was unaware of her visit, but he warily welcomes her into their home.  The groundskeeper and all-around handyman, Lennie, let's it slip that there have been deaths of other women in the past at the house.  And the young maid, Helen, is skittish and scared, worried that there will be more death in this house, particularly now that Melissa has arrived!  And last, but not least, the arrival of Stephanie Doyle, the woman who claims to be Charles' fiance and who is determined that Melissa will not steal her man away (despite the fact Melissa is not interested in Charles and plainly tells her so!).  Then, when Charles does finally appear, he is haggard and depressed.  There is so much going on at Ravensridge that Melissa begins to wonder if her coming there was a mistake...

Oh, yes, let's not forget the local townsfolk, as they definitely play a large part in the story.  There's Earl Mitchell, whose sister Nancy was killed in the local cemetery - and he firmly believes Philip Courtney was the one who did it!  There's Alan Greer, the man that some people claim Philip's wife ran away with (although others believe his wife is dead, murdered by someone at Ravensridge!).  And we musn't forget Floyd Emmert, the former deputy sheriff and brother to Philip's wife, who has insinuated his way into Ravensridge with his other daughter.  Of course, there is also Burt Loftus, a dangerous man who believes Charles is having an affair with his wife - and who gives Melissa a very terse warning to pass on to Charles when she sees him: stay away from his wife, or Charles will find himself as dead as Nancy Mitchell!

Plenty of characters, plenty of secrets, and plenty of suspicions to go around!  And poor Melissa finds herself drawn into all of it.  At first, it is innocuous enough - a missing lipstick, a stolen photograph.  But then matters begin to escalate.  A large gargoyle falls from the roof of the old house, nearly crushing Melissa.  Then, she is nearly killed when a gas line is opened in her room while she is asleep - a sleep from which she nearly never awakens!  It all culminates in the Lost Souls Cave on the outskirts of the Courtneys' property, where Melissa faces off against an insane evil that has been terrorizing Ravensridge for some time - and our young heroine nearly loses her life, only to be rescued by the man she at one time thought might have been behind all of the horrors at the old house.  

I was drawn into the story from the first few pages, and I simply could not put it down until I had finished it.  The suspense, the mystery, the drama, the characters, the setting - they all blend together so seamlessly to create a terrifying tale of gothic horror that any fan will thoroughly enjoy.  The cover art is gorgeous, with a semblance of connection to the story (even though the winged creature is not technically a gargoyle, and neither is is located on the upper roof of the house, but at least it signifies some form of danger from a statue in the tale...); however, there is no artist signature and no artist is identified on the copyright page or the back cover - so we are left to wonder who painted this haunting image.

This is DEFINITELY a gothic novel I highly recommend - well worth the read!

RATING:  10 expensive wide-angled lenses out of 10 for a story of mystery and suspense superbly written in true gothic fashion.