Barnabas Collins - the 6th Paperback Library Gothic Novel based on ABC-TV's suspense drama (Dark Shadows)

And we finally reach the introduction of Barnabas Collins in the Paperback Library Gothic book series.  Published in November 1968, well over a year after Jonathan Frid first appeared as the vampire on the television show back in April 1967.  I'm not really sure why it took the book series so long to catch up to the television show, character-wise; perhaps because the character was never intended to be long-lasting (originally he was intended only for a 13-week stint, and then he was to be killed off), or maybe it was simply that the books were more Gothic than supernatural.  Whatever the reason, it was clear the character of Barnabas Collins was a huge hit on the TV show, so thus, it would only make sense the publisher would want the best-selling character to appear in the books.  Of course, this meant reducing the role that Victoria Winters plays in the books, and to me, that was a major loss...

 

(It should be noted that the month this book was published was the same month that Alexandra Moltke, the actress who originated the role of Victoria Winters in the television show, left Dark Shadows, being replaced briefly by Betsy Durkin and then Carolyn Groves, before the character was completely written out in January 1969.)

 

Barnabas Collins is the sixth book in this series, and it introduces readers to the Barnabas Collins of this book series, which I have come to believe is simply another of the many parallel times that exist within that room deep within Collinwood's haunted halls.  Rather than introducing Barnabas by having Willie Loomis try to rob his gave, only to get an unexpected surprise, we get instead a story told by the ghost of Elizabeth and Roger's grandmother of events that took place at the turn of the 20th century.  In the book universe, there is no Willie Loomis, there is no Mrs. Johnson, and we barely see David Collins and Carolyn Stoddard.  Victoria Winters, who has been the main focus of the first five books, now takes a back seat, as she appears only in the prologue and epilogue, as she sits with Elizabeth to listen to the story of "Barnabas Collins," a name she happens to see while reading a journal of one Jonas Collins.  Elizabeth knows scant details, only what her grandmother told her. With the first chapter, we get a brief introduction of Margaret Collins, whose spirit speaks from beyond the grave to tell the full story of what happened back in 1902 and the ensuing years...

 

Jonas Collins is the head of the family, and his wife Margaret is the mistress of Collinwood.  Their grown son is off on his own, and the only other member of the family on the estate is their invalid daughter, Greta.  Ross never actually states what disease the poor girl has, but she is confined to a wheelchair and said repeatedly to be in poor health.  While not a happy household, there is no real unhappiness - merely melancholy and acceptance.  An elderly housekeeper remains on the property (Granny Entwhistle), as do the sister maids, Ada and Patience Griffin.  The family retains a houseboy, Luke Sinnot, who is mentally handicapped, as well as an unnamed groom.  All is normal and routine on the estate until the day he appears.  While standing at Widow's Hill, looking out over the ocean, she feels his presence, before she sees him.  Barnabas Collins.  An enigmatic man who claims to be the descendant of the original Barnabas Collins, who has come home to the family estate for some peace and quite to conduct "experiments" without interruption (this is the excuse he gives why they will never see him during the day, and why he cannot be disturbed in the Old House).  As you might suspect, once Barnabas arrives, everything changes.

 

Greta is instantly drawn to her cousin, particularly when he shows her special attention, remarking on her resemblance to Josette Collins (gee, can you see where this is going?).  Jonas is just happy to have someone renting the Old House.  Margaret, on the other hand, cannot make up her mind about their new found family member.  He is cordial enough, but there is something about him that unsettles her.  And his servant, Hare, is an ogre of a man, said to be both deaf and mute and rather rough when it comes to strangers.  Then there is Granny Entwhistle.  She is old enough to just barely remember stories of the original Barnabas Collins.  She knows the rumors.  She knows the stories.  And she knows evil when she sees it.  She tries to warn them.  She tries to help them.  But in the end, it does her no good - especially when she ends up dead at the bottom of the stairs to the third floor!

 

This book definitely has a body count.  The Barnabas Collins of this book is similar in nature to the Barnabas Collins as he was originally introduced on the television show.  He has a welcoming, cordial facade that hides a determined, sinister nature that is willing to do anything necessary to achieves his goals.  What did surprise me was how Ross integrated Barnabas' origin into the book, providing just a few scattered details here and there about Angelique being a witch, tricking Josette into believing she loved Jeremiah, and ultimately cursing Barnabas with eternal life as a vampire after he shoots her and she believes she is dying.  Ross even references the duel between Barnabas and Jeremiah - but in this parallel universe, Ross reveals that Jeremiah did not die, and neither he nor Barnabas were severely wounded (p. 73).  And that's it.  While the show spent weeks in 1795, giving viewers a detailed look at how Barnabas came to be the man he is, the book spends only a few sentences.  Clearly, Ross (and likely the publishers, as well) believed those who read these books would already be familiar enough with the television drama that they did not need to repeat what was already.

 

There are some things in the story that are worth mentioning.  When Barnabas first arrives at Collinwood, he talks about how little the estate has changed, saying "Still the sad setting for the widow's wail and the appearance of the Phantom Mariner" (p. 15).  The legend of the phantom mariner was used as a plot device in the fourth book in this series, The Mystery of Collinwood.  It is actually pretty great to see that Ross manages to keep some continuity in his books.  There is also the moment when Margaret discovers the truth about Barnabas' real nature, when she sees him and Greta go past "the great mirror by the door" and is shocked to see that "there had been no reflection of Barnabas Collins at all!" (p. 39).  This is obviously a nod to the television series, in which Dr. Julia Hoffman uncovers Barnabas' secret when she finds he has no reflection in the mirror of her compact she is using (Episode 288).

 

One aspect of the story that really bothered me while reading this was the introduction of young Judith, a child who Barnabas decides he is going to adopt, mostly because of her strong resemblance to a young Josette DuPres Collins.  This was extremely uncomfortable, because Ross has Barnabas inform Margaret of his reason for adopting her:  "In ten years, little Judith could become my bride.  In the interim I'll see she has the life of a rich man's daughter.  Every luxury and advantage will be given to her.  So in the end she will be the same great lady Josette was" (p. 77).  I don't know about you, but the fact that a grown man is looking at a little girl (no more than 8 or 9 years old!) and envisioning this child as his future wife bothers me considerably.  I am surprised not only that Ross would incorporate such a thing into his story, but that the publisher / editor would allow it be stand as written!  It almost makes Barnabas come across as a sexual predator, and I think the story would have been better without this aspect in it.

 

The story was a definitely different take on the introduction of television's greatest vampire, and aside from that one uncomfortable plot element, it was a fairly good read.

 

RATING:  7 sapphire star pendants out of 10 for providing readers an entirely new tale of Barnabas Collins' arrival at the great house of Collinwood, riddled with vampire attacks and coffins in the basement! 

The Curse of Collinwood - the 5th Paperback Library Gothic Novel based on ABC-TV's suspense drama (Dark Shadows)

And with this book, the tone and direction of the Dark Shadows series by W.E.D. Ross (writing under one of his many pseudonyms, Marilyn Ross) changes to include the supernatural.  By the time this book was published in May 1968, the television show had long been dealing with supernatural themes:  from the ghost of Josette, to the phoenix Laura Collins, to the ghost of Sarah, to the introduction of the vampire Barnabas Collins, to the trip in time back to 1795, to the witch Angelique, and was just reaching the point with the evil Dr. Lang and his Frankenstein-type creation, Adam.  Thus, it was only natural that the book series would begin to introduce supernatural elements, which would go beyond the standard Gothic tropes and enter the realm of full-on horror in its stories.  But the addition of the supernatural was not the only change Ross brought into the series, as we will quickly discover...

 

The Curse of Collinwood is the story of Derek Collins and his wife, Esther Collins, who died over a hundred years ago under strange circumstances. Derek had engaged in slave trade in order to make his fortune, and his wife was horrified to learn this about her own husband.  With the help of a voodoo / witch doctor, she had her husband killed and embalmed, as well as orchestrated her own death, with the idea that her husband could never be rid of her.  Their bodies were returned to Collinsport and locked away in the Collins' family masoleum, forever to remain sealed.  Only a shaft of moonlight could unlock the curse placed upon their dead bodies, giving them new life as part of the living dead!  For a century, their coffins remained in darkness inside the cold, cement crypt, never seeing daylight nor moonlight, trapped in an eternal sleep.  But events are about to transpire that will change all of that!

 

Just as Victoria's love interest in the television show, Burke Devlin, was killed (allegedly) in a plane crash while on a business trip to Brazil, suddenly in this book we learn that Victoria's love interest, Ernest Collins, has died in a plane crash en route to Rio de Janeiro (p. 7) for a concert he was to perform (and for those who do not know, Rio de Janeiro is located in Brazil - meaning Ernest was killed in identical fashion and in the same location as Burke!).  Readers also learn that Elizabeth is no longer locking herself away in Collinwood, as she has learned the husband she thought dead for so many years has actually been alive and is pursuing a career on the high seas (p. 6).  David, who had been sent away to a boarding school as revealed in the last book, is back home; and Carolyn, who had been attending school in nearby Ellsworth, had a nervous breakdown and has returned home to recuperate (p. 6).  It seems quite a bit has happened in the Collins' household between books 4 and 5, and readers are brought up to date within just a few pages in the first chapter.  Surprisingly, there is no mention of Victoria searching for the truth about her past and her own identity - Ross apparently dropped that entire plot thread, much as the television show did as it moved further and further into the realm of the supernatural.  (And this is a true shame, as I always hoped it would have been revealed that Victoria was really Elizabeth's daughter - although, Ross did have an outline planned for a book that would have revealed Victoria's parentage and reunite her with her love, Ernest; but, sadly, that book never got written, as Ross was required to write Victoria out of the books, just as she had been written out of the television show - a brief version of that unwritten novel can be found on Craig Hamrick's website: The Secret of Victoria Winters)

 

Ross manages to keep the reader guessing for a good portion of the book as to whether the "large man" and "young woman" who seem to be terrorizing Collinsport are the escaped criminal Big Tim Mooney and his girlfriend, Nora or whether they are Derek and Esther Collins, brought back from the dead to roam the area as zombies.  Victoria, who at first discounts the stories of "Mad Man" Martin, an elderly spiritualist who warns her and Burke about Derek and Esther, soon believes that she and Burke accidentally released  the Collins' ancestors when they went into the mausoleum to satisfy Burke's curiosity regarding the two long-dead members of the family.  When Victoria, Carolyn, and Elizabeth are all terrorized by the large man and the woman with him, Burke and Vicki go back to the crypt and find both coffins destroyed - and the bodies are gone!  Burke insists it was Mooney looking for the treasures supposedly buried with Derek Collins, but Victoria thinks the supernatural is at work and zombies are now walking in the night.  In true Gothic fashion, Ross builds the suspense with disembodied hands, shadowy figures attacking, chases up the steep cliffs in the middle of the night, and plenty of appearances of these two horrors of the night.  Even I was curious as to whether they were actually zombies, or would it all be explained away by the end (as had been done in the four previous books).

 

I enjoyed seeing David and Carolyn back in this book, and I rather liked the fact that Victoria was paired more with Burke Devlin in this story (as I always loved the two of them together in the television show).  Even Roger was back to his nearly-always drunk, belligerent self in this story.  Matthew Morgan is mentioned but never actually appears (and he is referred to as "Matt" Morgan, which I found weird).  And, I know I will probably get some flack for this, but I was actually happy Ross got rid of Ernest Collins.  I never liked the character, and I certainly did not like the romance between him and Victoria.  Yes, his abrupt death and the myriad of changes that took place "off screen" between books 4 and 5 definitely tells the reader that the series is headed in a completely different direction now.  At the time it was published, Alexandre Moltke was still playing Victoria Winters on the television show, so there was no reason for anyone to think Vicki would not continue to play a major role in the books; however, this was actually the last full-length novel written by Ross to feature Victoria Winters as a major protagonist.  Beginning with the next book, Victoria becomes a supporting character, with Barnabas Collins becoming the lead character (much as he did in the television show).

 

The family history truly deviates from that established in the show with this book, as Ross introduces Derek and Esther Collins, who are both said to have died in 1859, which would have made them both contemporaries of sorts with Daniel Collins, a cousin of the Collins family who inherited Collinwood after the events of 1795 (when most of the immediate family was killed).  There is no mention of Derek or Esther in the television show, making them both original creations of Ross.  I am aware that the books play very loose with the family lineage, and from what I can remember, the stories that are told in later books in various time periods do not match up between themselves as to the names of family members living at various points in time.  While I realize the television show played a bit loose with the family tree, particularly once Barnabas came into the picture, the books (from what I have been told) do not even bother with a coherent timeline (which, technically, could be explained by the fact that Barnabas' frequent trips through time messes with the timeline, creating multiple alternate realities with different family trees!).

 

This is the first book to feature only one cover, and it is a hodge-podge to say the least!  The background takes the same painted image of Victoria Winters that was used for the first book of this series, and superimposed over that is a very recognizable photo of Jonathan Frid as Barnabas Collins, baring his fans and holding that wolf's head cane of his.  Obviously, the use of Barnabas' image is to cash in on the success he was having in the television show, because his character does not yet appear in the books - although, the idea that his character was a vampire could hint at the supernatural part of the story within.  But the re-use of the first book cover art is questionable - perhaps it was done merely to save the expense of hiring an artist to paint an entirely new cover.  This is the last book to feature any painted artwork on the cover - all of the books hereafter feature photo covers, with images of the actors from the television show. 

 

Overall, I would say I liked this book far more than I did the previous one.  The story was refreshingly different from the previous four, and Victoria was a bit stronger of a character than Ross has portrayed her in the last couple of stories.  Plus, the actual supernatural elements were an added bonus!

 

RATING:   8 ornate silver snuffboxes from the 1800s out of 10 for increasing the Gothic terror with the reality of the walking dead!

The Mystery of Collinwood - the 4th Paperback Library Gothic Novel based on ABC-TV's suspense drama (Dark Shadows)

We now come to the fourth novel in the Dark Shadows series by Marilyn Ross (a/k/a W.E.D. Ross) published by Paperback Library.  This particular novel was published in January 1968, which is when the television show was starting what I consider to be one of its best storylines (and by far my favorite one on the show) - when a seance was held at Collinwood ... a seance that transcended time and space and sent Victoria Winters on a journey back into the past ... back to the year 1795!  It was there that viewers learned the origin of how Barnabas Collins was cursed and became a vampire.  So, it seems rather odd that by this point in the novels, we have yet to see any sign of Barnabas Collins, and the stories continue to focus on Victoria Winters as the young Gothic heroine who constantly finds herself being threatened by some dark force (that, like in all the Scooby Doo mysteries, turns out to be a real person in disguise!).  Of course, I have no idea just how far in advance the stories were written, so there is the possibility that the book was written months before it was published...

 

The Mystery of Collinwood (and yes, they finally start calling it Collinwood at least, and have dropped the whole "Collins House" moniker) is more or less a repeat of the previous stories, which is a bit disappointing.  How many times can we have strangers / relatives show up at Collinwood, strange events start to happen that all seem to target Victoria, no one believes Victoria when she tells them what is happening, and Victoria is nearly killed before the villain is finally caught and unmasked?  Don't get me wrong - most of the Gothic novels from this period have many similar plot elements; but for a series of novels utilizing the same characters and setting to repeat the same basic story over and over again feels a bit redundant.  Now, I love Victoria Winters - always have since the very first episode of Dark Shadows that I ever watched - so I absolutely love reading more stories about her that take her beyond what we saw on the television show.  But after three books of her facing off against alleged ghosts/demons/phantoms and finding out they were actually one of the numerous strangers that were staying on the Collinwood estate, once would think that by this fourth book she would have wised up and not fallen from any more ghostly haunts.  I would like to think that at some point, her character would have grown, and she would not always play the helpless victim.  But, alas, Ross apparently did not see her that way.

 

With all that being said, the "mystery" of this book revolves around the rather odd Professor Mark Veno and his daughter, Linda, who have come to stay at Collinwood.  The Professor and his daughter travel the world, putting on show that highlight his mental abilities to supposedly read minds.  Roger Collins thinks it is a hoax, but Elizabeth Stoddard seems to think otherwise, so he is always welcome to stay at the great house when he is in the area.  Meanwhile, down at Ernest's cottage on the property, an ill woman, Margaret Lucas, and her deformed caretaker, Carlos, have been renting the cottage so she can be isolated in what Elizabeth and Victoria believe to be the final months of her life.  Margaret is a loner, but she does enjoy Victoria's company - in fact, Victoria is the only one she will allow to visit her.  Until she hears about Linda, at which point, she invites that girl to pay her visits as well.

 

Oh, did I mention that Linda bears a remarkable resemblance to Victoria?  And that Professor Mark Veno is actually Mark Collins, a previously never mentioned brother of Elizabeth and Roger (say what?!?!)?  And that Mark Collins was married before he met Linda's mother, but the first wife and her newborn baby both died?  Or did they?  Yes, it's another potential parentage for Victoria to fret about (she seems to have a new one in every book, doesn't she?).  While Victoria does not like the Professor - in fact, she can't stand him and is afraid of him! - she firmly believes his first child did not die, and she is that child.  Everyone she confides in tries to dissuade her of this theory, but she is persistent to the point of having Burke Devil hire a private detective to look into the matter.

 

And as far as the mystery - well, that involves the strange phantom mariner that the Professor tells the family about.  As the story goes, whenever the phantom mariner would appear to wives of sea-faring men back in the day, it meant the men would not be coming home, or that the women themselves would die!  To see the phantom mariner means death!  And, wouldn't you know it, the same night Victoria hears the story, she sees the phantom out on the grounds.  And again later in the house.  Again.  And again.  Poor Victoria is taken through the ringer in this story.  Knocked down the well outside (remember the one she almost fell into back in the first book, but Ernest saved her?).  Locked down in the dark cellar. Locked in an upper room with a bottle of gas thrown in for good measure.  Locked in the attic with something moving around.  Nearly hypnotized into jumping off Widow's Hill. Nearly hypnotized into jumping off the Captain's walk atop Collinwood.  And, finally, poor girl is nearly strangled to death before she gets the bead on that phantom mariner and shoots the villain with a gun provided her by Burke Devlin (good for you, Burke!).

 

One continuity error I caught while reading this book:  once again, David and Carolyn are out of the picture.  Even though summer is over (this book is explicitly said to take place in September), Ross writes off David by sending him to a boarding school, and he writes out Carolyn by having her return to Ellsworth to finish her final year of high school.  How convenient.  In any event, when Elizabeth plans a big party toward the end of the story, she mentions that Carolyn will be able to come home for that week to be there for the party.  Upon her return, she and Victoria and Linda go up into the attic to look for old dresses to wear for the costume party (p. 140), and Carolyn is the one who actually finds Victoria locked in the attic (p. 143).  That's all good and dandy.  But then the very next chapter begins by saying "Carolyn returned from school in Ellsworth on Friday evening and so was able to assist Linda with the last minute decorations (p. 147).  So, if Carolyn did not return until Friday, then how was she there earlier in the week to look for costumes for the party and to free Victoria from the attic?  Time travel, perhaps?  Parallel time?  Let's face it, stranger things than that have happened on the television show!

 

Just as the previous four books had two covers, so does this one.  The early printings had a painted cover that features Victoria in the forefront, looking over her shoulder (a very striking image of her, I must say!), with a mysterious man in the background - that could be Roger, Ernest, or even the Professor.  Collinwood looms in the background, menacing as ever.  The later printings feature yet another image of Alexandre Moltke and Jonathan Frid as Victoria and Barnabas, again working to cash in on the popularity of Barnabas Collins, even though he has not even been mentioned in the book series up to this point.

 

Read by itself, the story is a fairly well-written Gothic.  Read as a part of this series, however; well, it just feels like a repeat of the same plot with different characters.  

 

RATING:  6 new bottles of sherry out of 10 for keeping Victoria Winters alive and giving her considerably more spotlight than the TV show was doing at this time. 

Strangers at Collins House - the 3rd Paperback Library Gothic Novel based on ABC-TV's suspense drama (Dark Shadows)

This third novel in the series of Dark Shadows novels by Marilyn Ross (a/k/a W.E.D. Ross) takes the story even further away from the plots established in the television daytime drama and most firmly establishes this series as a completely alternate timeline.  While Ross maintains some elements (such as Victoria's search for her parentage, Elizabeth's self-imposed 18-year seclusion, Roger's drinking and sarcasm, and the animosity between Roger and Burke Devlin), Ross deviates in so many ways with the various cousins, uncles, and other family members that appear from book to book, as well as Victoria's romance with Ernest Collins and the lack of supporting cast (with very little mention or few appearances of Maggie Evans, Joe Haskell, and other various Collinsport denizens - even poor David and Carolyn are sent away and haven't appeared since the first book, I suppose to allow more of the focus to be on Victoria as the Gothic heroine).  It is like stepping into another parallel time, like those that appeared later in the television serial.

 

Strangers at Collins House (and I don't think I will ever get used to their constant reference to "Collins House" instead of "Collinwood" was first published in September 1967.  By this time in the TV show, Barnabas Collins had been introduced, the ghost of little Sarah had been appearing, Jason McGuire was on the scene and blackmailing Elizabeth, and Victoria was engaged to Burke Devlin.  Thus, it is surprising that the books continued to keep the focus solely on Victoria Winters, leading one to suspect that the books were actually written some time before they were published.  Not that I am complaining, as I loved the character of Victoria Winters, and I am overjoyed to be reading further adventures of the young ingenue among the dark and sometime dangers secrets surrounding the great house on Widow's Hill.  This book takes place during the same summer as the previous book, only Carolyn is now working in another town and David is at a boys' camp.  This leaves Victoria alone once again in the big house with only Elizabeth Collins Stoddard and her brother, Roger Collins, along with the gruff caretaker, Matthew Morgan.

 

In this book, Victoria believes she has finally found the answers she has been searching for with regard to her missing past when Elizabeth and Roger's uncle, Henry Collins, arrives at Collins House with his friend and confidante, Benjamin Willard, and Benjamin's son and daughter-in-law, Jack and Molly.  Before the elderly man even arrives, Elizabeth shows Victoria to the apartment in the closed off wing of the house where Henry stays whenever he visits - an apartment that has a secret room hidden away through the door in the back of a closet - a room that is quite literally a room from the Ritz Hampton hotel in New York City that was transported piece-by-piece and recreated in this closed off part of the house.  The room holds special meaning for Henry Collins, as it hearkens back to a time past, when he was young and in love with a woman - a woman who met a tragic end, and for whom Henry has been grieving every since.  In fact, he has returned to Collins House in very poor health and anticipates dying there.  And thus, the mystery and the terrors begin once again for poor Victoria Winters...

 

Ross does a bit of a repeat on this plots with this story - a family members comes to Collins House to stay ... a tragic story involving a past love ... a room in the closed off wing of the house is opened ... the "ghost" of a woman long-thought dead is seen by Victoria ... someone is stalking poor Victoria ... the climax reveals there was no ghost, and the real culprit is the one you would least expect.  It is almost as if there is a set pattern for his stories, and he just fills in the blanks with various new characters and situations.  Yet, despite the sameness of the plot, the story was still rather enjoyable.  I thoroughly enjoyed the possibility of Victoria being related to Henry Collins - Ross certainly established all of the right elements for that to have been revealed!  It would have made for a very nice twist to the television story (which was pretty much set up to reveal Victoria as Elizabeth's daughter), and it would have given Victoria's story some closure that fans never received from the TV show.  From my understanding, Ross had a definitely idea in mind for Victoria's parentage, that he would have eventually revealed had he been allowed to keep the character in the books; but, alas, once Victoria was gone from the show, Ross was told to remove her from the books.

 

The book does give some explanation about the current (for the time the book was published) Collins' family tree.  When Henry Collins is first introduced, Elizabeth informs Victoria that he is her "father's older brother and the only surviving member of all that family" (p. 9).  We know from the TV show that Jamison Collins was Elizabeth and Roger's father, and that he had one sister, Nora.  In the show, there was no brother named Henry, so this, in and of itself, sets this book series apart from the television drama.  He is referred to as the "older" brother, hinting that there were other aunts and uncles out there, which would account for Cousin Ernest, since Elizabeth plainly says Henry has no surviving members of his line of the family.  I do not recall the books ever mentioning the names of Ernest's parents, but since he bares the Collins' name, it would have to be a brother of Jamison's, other than Henry.  Thus, in this book parallel time world, Jamison Collins had at least two brothers - Henry was one, and Ernest's father was the other.  Whether there are other siblings, I suppose I will discover as I continue to read through the series.

 

This book also brings in (sort of) the famous artist Charles Dana Gibson, who is famous for his illustrations of tall, narrow waisted women who were independent and stylish.  Roger snidely refers to Victoria as a "Gibson Girl," an observation to which Uncle Henry wholeheartedly agrees (p. 24). Henry goes on to explain to Victoria that Gibson and his wife, Irene Langhorne (who was, indeed, the real-life wife of Charles Gibson).  While this book indicates Gibson and his wife met and fell in love in Bar Harbor, Maine (p. 24), there is no evidence of that being the case in the real world.

 

Another interesting tidbit in this book is the Collins' strawberry field.  Yes, you read that right.  Apparently, the Collins family has a field where they grow strawberries, located "about a mile from the estate grounds and off the road leading to the village" (p. 69).  It is here Victoria faces one of her many dangers, as Jack Willard nearly runs her over with his car, later apologizing, claiming the brakes did not work and he lost control.  Victoria, of course, has difficulty believing the man, who is known to drink quite a bit and who could, potentially, be involved in the plot to get rid of Victoria because of how close she is becoming to Henry Collins! 

 

Last, I would be remiss if I did not mention the character of Rupert Harvey, a friend of Roger Collins who comes to Collins House and stirs up quite a bit of activity.  Rupert claims to be a psychometrist, which he describes is someone who has "a natural sensitivity to objects and places" (p. 92).  He relates this ability to a form of psychic power that allows him to pick up on the history of a particular thing or past simply by touching it.  It is interesting that the term is used in the para-psychological sense for this book (which I suppose is not too surprising, considering the nature of these stories), as psychometry also refers to an actual field of study that is concerned with the psychological measurement of knowledge, abilities, attitudes, and personal traits.  Honestly, until I saw this term used in this story, I had never actually heard of the word before!

 

As with the previous two books, this one also has two covers - the original, painted cover features Victoria fairly far from the great house, looking back in fear (perhaps a rendition of the scene where Jack's car is about to run her down?).  The photo cover, used in later printings, has Victoria standing with Barnabas Collins, who, once again, is not in the book series yet, so the only possible reason for having him on the cover was simply to cash in on his popularity in the television show at that time.

 

The further I get into the series, the closer I know I am getting to the last Victoria Winters story, as she is written out of the books, with her last appearance being in book six (and even that appearance is peripheral, as she does not actually appear as a character in the main story, which focuses solely on Barnabas Collins).  So, I must relish her stories while they last, no matter how formulaic they may be!

 

RATING:   8 emerald necklaces with matching earrings out of 10 for bringing Victoria (and readers!) to the brink of discovering her origins, within the confines of a terrifying tale of past love and murder!

Victoria Winters - the 2nd Paperback Library Gothic Novel based on ABC-TV's suspense drama (Dark Shadows)

I am having a thrilling time re-reading these Dark Shadows novels from the late '60s (which continued into the early '70s, well past the end of the television show).  It has been so many years since I originally read them, it is like I am reading them again for the first time.  And the author, W.E.D. Ross (writing under his most popular pseudonym, Marilyn Ross) does a pretty decent job with the characterization, capturing some of the nuances the actors instilled in the characters on TV.  I especially like the fact that these early books, like the early episodes of the TV show, focused on Victoria Winters, as she was by far my favorite character from the show.  Thankfully, Ross manages to instill her a bit more strength and awareness than she was given by the writers on the daytime soap.  It breathes a little more life into her, and definitely makes me love the character all the more!

 

Victoria Winters is the second book in the series, and the story picks up some months after the events in the first book (which depicted Victoria's arrival, her meeting the Collins' clan, her romance with Ernest Collins, and the terrifying events that led to Ernest leaving for an indefinite period of time).  Now, as summer has arrived, Carolyn and David are gone on a vacation, leaving Victoria behind to act as a personal assistant to Elizabeth Collins Stoddard.  The Collins' attorney, Will Grant, is still around (still trying to woo Victoria), and we meet his sister, Nora, with whom Victoria has developed a close friendship.  Burke Devlin makes a few quick appearances in this novel, and Matthew Morgan is his usual grumpy self.  Roger Collins continues to be the ultimate spoiled playboy.  The new characters who are introduced in this book are Paul Caine, a visiting artist who takes an instant liking to Victoria, as well as Henry Francis and his two daughters - the gorgeous Rachel Francis (who becomes entangled with Roger) and the invalid Dorothy (who is recovering from major brain surgery and is confined to a wheelchair in a near catatonic state).  It turns out Henry was an old classmate of Elizabeth's back in the day, so she welcomes the man and his daughters into her home unlike she would anyone else.  And now, with all the characters in place, the mystery unfolds...

 

 One might recall in the first book, it turned out Ernest's first wife did not really die as everyone believed, but was being kept secreted away in the dark halls of Collins House, as she had gone mad. It was revealed that she had murdered a woman Ernest had later fallen in love with - Stella Hastings, and she would have killed Victoria as well, if fate had not intervened.  Well, it seems that story was not quite over, as Victoria begins to see the face and ghostly apparition of a woman who she eventually finds out is none other than Stella Hastings!  Did the woman not die, as everyone thought?  Or was her spirit haunting the house where she had been killed?  As Victoria tries to figure this mystery out, she must also fend off a would-be killer, someone who is following in the footsteps of the silk-scarf strangler who Henry Francis tells her killed several woman back in Pennsylvania.  Did the killer follow the Francis family to Collinsport, stalking Henry's daughter?  Is Victoria simply another in a long-line of victims?  Or is there something much more sinister going on in the Collins' great house?  

 

We spend a bit more time outside of Collinwood (or Collins House, as Ross repeatedly refers to it) in this book.  Victoria and Nora head into Collinsport on several occasions, frequenting the Blue Whale, as well as Will Grant's office and the general store and post office.  Victoria and Nora also spend some time on the beach - after all, it is summer.  These interludes are nice reminders that there is an entire world within the Dark Shadows mythos, and the characters are not limited to the great house. It is also nice to see that Burke Devlin continues to make his brief appearances.  This book has a first printing date of March 1967, and by that point in the television show, viewers were treated to the final revelations regarding the mystery surrounding Mr. Devlin and his animosity towards Roger Collins.  Fans were also in the middle of the story where BIll Malloy is murdered and the phoenix, Laura Collins (David's mother and Roger's ex-wife!) shows up to claim her son.  While there are passing references in the books to Roger's ex-wife, there are no details given, and from what I can recall, the books never actually address who she is or her supernatural essence.

 

Ross once again gives strong hints at the supernatural, with the ghostly appearances of Stella Hastings, but as with your standard Gothic tale from this period, the haunting is explained away with real-world circumstances (in this instance, a look-alike who is mistaken for Stella).  Each of the continuing characters (Elizabeth, Roger, Will) are still exhibiting odd quirks and mood shifts that hint at secrets being withheld from poor Victoria, leading one to understand that Ross was likely hedging his bets, keeping their actions mysterious, yet not direct, so that if anything major was revealed on the television show, he could incorporate it into his stories.  I do like that he keeps Victoria true to form, in that she is not a Nancy Drew-type mystery solver, but rather, someone who seems to fall into these situations and is forced to go along for the ride until they resolve themselves.  I laughed at one line in the book, where Victoria was overwhelmed, and she realizes "[s]he had reached the stage where things when on around her and she simply sat in a kind of daze and allowed them to happen" (p. 100).  Many fans would say that is a pretty accurate description of how Victoria was always written on the TV show.  Thankfully, Ross does give her a bit more fortitude, so that even as she is forced into these situations, she has the mental acuity to reason things out.

 

As with the first book, this novel featured two different covers.  The first, which appeared on the early printings, was a painted cover (above), showing Victoria, in her overcoat, running away from Collins House.  This scene is taken from early promotional photos for the show, which shows Alexandra Moltke in that same position (also above).  For later printings, Paperback Library reprinted the book using a still photo from the television show, once again with Alexandra Moltke as Victoria and Jonathan Frid as Barnabas Collins.  As Barnabas did not make his first appearance on the show until April 18, 1967, a month after this book was initially released, and considering his character does not appear in the story at all, I find is somewhat misleading that the later printings used such a photo.  No doubt, Paperback was simply cashing in on Barnabas' popularity (since, by the time these books were reprinted, Barnabas had gained his success on the show, and the books were featuring Barnabas as their principal character).  Still, there were plenty of images of Victoria with other characters that do appear in the stories, which the publisher could have used.  Unless, of course, it was a mandate from Dan Curtis Productions, in which case, they would not have had much of a choice in the matter.

 

 This second book definitely takes the story of Victoria Winters further away from the direction she was written in the television show, and as such, it makes for some great reading.  These are new and unique stories, a "parallel time" of sorts, and it is a shame Ross was forced to write Victoria Winters out when she left the show.  This forum would have been the perfect place to reveal Victoria's true parentage, the one mystery that never got solved on any version of the television show (although, for the 1990's remake, that question was answered in Innovation Comics' Dark Shadows' comic book series, which picked up where the TV show ended and ultimately revealed Victoria really was Elizabeth's daughter...)

 

Only 30 books left to read in the ongoing saga of the Collins family!

 

RATING:  10 tiny silver earrings shaped like a leaf out of 10 for great Gothic suspense and ghoulish ghostly scares, with some well-written misdirects to keep the twist ending (somewhat) a surprise!

Dark Shadows - the 1st Paperback Library Gothic Novel based on ABC-TV's suspense drama

It has been so many years since I first read these Dark Shadows series of novels based on the television soap opera from the 1960s and '70s, that I decided it was time to go back and re-read them.  While I remember them being different from the show itself, I did not recall just how different.  The series was published by Paperback Library, with this first book being released in December 1966, nearly six months after the premier of the television show in June 1966.  The series continued for 32 books, not including the novelization of the House of Dark Shadows film, as well as the Barnabas Collins in a Funny Vein, Dark Shadows Cookbook, Book of Vampires and Werewolves and Jonathan Frid Photo Album.  The last five books in the series were published after the TV show went off the air.  While my favorite character, Victoria Winters, features heavily in the early books, when she was written out of the show, the book series followed suit (and, sadly, neither the television show, nor the book series, resolved the mystery surrounding Victoria's true parentage!).

 

Dark Shadows is the aptly titled first book in the series and provides readers with a very different version of Victoria Winters' arrival in Collinsport, Maine and her introduction to the Collins family.  The backstory remains the same - Victoria was raised in a foundling home, money was sent for years from Bangor from a mysterious, unnamed benefactor, and Victoria is offered a position at Collinwood (referred to as Collins House in the book) as governess for the young David Collins.  There is even a scene where Victoria meets Maggie Evans briefly, although in the book, Maggie is not quite as negative about the Collins family. Here, the story deviates, as Victoria takes a taxi up to Collinwood, but on the way, the taxi has a flat tire (in the show, Victoria is unable to get a taxi, because she is told the only taxi in town has a flat).  Along comes the Collins' family attorney, Will Grant, who helps get the tire fixed, and Victoria is soon brought to Collinwood, where the first person she encounters is an entirely new character, never mentioned in the television show!

 

Ernest Collins is Elizabeth and Roger's cousin (there is no definite explanation of how they are related; however, since he bears the name Collins, it can only be assumed his father and Roger and Elizabeth's father are brothers - unless the "cousin" is merely a casual reference, and they are actually more distantly related), and he surprises Victoria when he grabs her unexpectedly, only, as it turns out, to save her from stepping onto the rotting wood covering an old well.  Ernest is a concert violinist who has returned to live at the Collins' house after suffering some devastating losses - the death of his first wife, as well as the death of a young woman with whom he was becoming close in Collinsport.  Victoria has sympathy for him, but she soon learns Ernest has some dark secrets, and it's quite possible the death of the young woman was not an accident!  Is he mad, having had an emotional break after his wife died, or is there something else going on?

 

While Victoria tries to sort out her feelings for and thoughts about Ernest Collins, she must also deal with the secrets of the rest of the family.  She is warned that David is a "monster" and very difficult to handle, but she soon learns that his problem stems from his anger at being taken away from his mother.  When she broaches the issue with Roger and Elizabeth, she is told it is not her concern and to stay out of it.  As far as Roger is concerned, Victoria experiences his alcohol-induced womanizing first hand and must forcefully assert herself to him in order to avoid his advances.  With regard to Elizabeth, the woman is stern and secretive, clearly hiding something she had hidden in the basement of the great house (which,, I'm guessing, was taken from the whole mystery in the television show surrounding the disappearance of Paul Stoddard that left Elizabeth a recluse for eighteen years), and she is so quick to write off the mysterious happenings in the house, even going so far as to blame young David, even when Victoria knows the boy is innocent!  It seems Carolyn is the only "normal" person in the family, but even she has her moments, leaving Victoria to wonder.

 

The story throws in a number of nearly supernatural moments, when Victoria hears horrific scratching noises, sees moving shadows, and is frightened by a horrific mask in her room.  It all culminates in a dark, stormy night when the terrifying secret that has been haunting the house makes its presence known, and Victoria faces a life-and-death situation as everything (well, related to this story, anyhow) comes to light and a specter of the past comes back to seek revenge!  The author, W.E.D. Ross writing under the pseudonym of Marilyn Ross, does a fantastic job of building the suspense throughout the story, but as with most of his Gothic tales, the climax always happens a little too quickly, wrapping up usually in a few pages in the final chapter.  William Edward Daniel Ross (1912-1995) was known for the plethora of Gothic novels he wrote under various pseudonyms - Marilyn Ross, Clarissa Ross, Dana Ross, Leslie Ames, and others.  The Dark Shadows series was the longest series of Gothics that he wrote.

 

The book is thoroughly enjoyable in spite of (or maybe because of?) its deviation from the plotlines in the television show; yet, there are some glaring errors in the book that really stand out.  For instance, Elizabeth's daughter, Carolyn, is referred to as "Caroline" (p. 11), with even Carolyn referring to her name with that spelling (p. 34).  In addition, Victoria is told to stay away from the east wing, as it is closed off and in disrepair (p. 73); but, in the TV show, it as the west wing that was closed off and alleged to be haunted.  What I found even more surprising, however, is when Carolyn convinces Victoria to join her at The Blue Whale, Joe Haskell sits down at the table with them, placing three beers on the table - which they all drink (p. 88)!  Carolyn is only seventeen, and Victoria not much older - so Joe was basically serving alcohol to underage girls (as the drinking age in Maine at that time was 21 years old).  Some things did stay true to the show (at least, at that time), such as Elizabeth's reference to Jeremiah Collins as her great-grandfather (p. 23), which matches what she says in the second episode of the television show.  There is also a reference to Isaac Collins as being the one who founded Collinsport (p. 26), although the book indicates he arrived prior to the Mayflower, which is inaccurate - the Mayflower landed in 1620, and Isaac Collins did not arrive until 1690.

 

The book has two covers.  The first is a painted scene featuring Victoria Winters holding tight to her overcoat, with the wind blowing, while behind her is the stately house of Collinwood, the moon shining overheard.  The bare tree branches around Victoria give the scene a sense of loneliness and foreboding.  Later printings of the book featured a photo still from the television show, oddly enough showing Victoria (as portrayed by Alexendra Moltke) standing next to Barnabas Collins (Jonathan Frid), who is not even in the book - in fact, at the time the book was first published, his character did not even exist!  Most likely, Paperback Library was simply trying to cash in on Barnabas' popularity in the later years, so covers were re-issued with his image on them to increase sales.

 

A good start to an alternate timeline for the series (and let's face it, the television show did plenty of altering its timelines - with trips to the past and the future, and even trips to parallel time!).

 

RATING:  10 bent steering rods out of 10 for offering fans of the television show some different takes on the same characters they had come to love! 

Berryhill - an Old Fashioned Blood-Curdling Gothic

This book definitely borderlines more on the horror side of things than it does the Gothic side.  Published back in 1979 by Manor Books, just two years before the publisher ceased its activities (the same publisher who put out the "King Size Gothic" line, ripping off Popular Library's line of "Queen Size Gothics"), the book promotes itself as "Editor's Gothic Choice," and claims to be "An Old Fashioned Blood Curdling Gothic."  This is one of the very few Gothics that I have read that actually crosses over into the supernatural and delves into witchcraft and ghosts.  It is also one of the few that puts forth very detailed descriptions of some gory and horrific deaths.  The author was Barbara Curry Bennett (1938-2024), and this appears to be her one and only Gothic novel.  Bennett lived in Tennessee, so it should come as no surprise that her story is set deep in the woods of the southern state.

 

Berryhill takes its title from the house in the story, which is set at the bottom of a hill where berries once grew in abundance.  Unfortunately, the ground upon which the house was built has a horrific background, as it was the site of a terrifying massacre of some outcast Indians, the last of whom put a curse on the land - a curse that managed to endure from year to year and generation to generation.  The author takes readers from the time of the early settlers in America in the opening prologue to the current time (well, current when the book was written!) in the epilogue, telling a terrifying tale that lasts over a century.  It opens with a young boy coming across a group of Indians while he is playing in the woods - a group he mistakenly believes are a threat to his family.  He is unaware that the Indians are merely a rag-tag group of misfits, kicked of other tribes for one reason or another and banded together to live a peaceful existence away from everyone.  But the young boy's family, and the other settlers that are with them, come back with blood-thirst in their veins, and they viciously wipe out all of the Indians, from the youngest child to the oldest woman - an old woman who puts a curse on "all white men who dare to walk on this land where the blood of the innocent is shed!" (p. 8),  Half a century later, a man by the name of Aaron DeGault comes across this clearing and decides it is the perfect spot to build a home for his wife and newborn son.  Unfortunately, the curse begins, as Aaron and his wife are tragically killed in a wagon accident, leaving their six-year old son to be raised far away by distant relatives...

 

Until Jason DeGault grew up, married Abigail, and returned to his family's homestead to start a family.  They had two sons, but the War Between the States claimed Abigail's husband and oldest son, and her youngest son, Paul, was missing in action.  That left Abigail to run the farm and care for her sickly daughter-in-law and her grandchild, Alicia.  The horrors of the Indian curse continue when a vile Union soldier shows up, forces his way into the house, brutally rapes and kills Clarice, throwing the infant child across the room in the process.  Abigail finds an inner strength to fight back and takes an ax to the soldier's head, killing him instantly.  She has just enough time to bury the man in the basement before the nearest neighbor, Harry Hunnicutt shows up.  From here, the story moves forward with the Default family, the years pass, and Paul returns home with a wife, step-daughter, and son, moving in with his mother and niece.  The only problem is, Alicia has been raised alone by Abigail, and she is not happy about these people intruding upon what she feels to be her home.  She pushes her new Aunt Sarah down the stairs, killing her without remorse.  You see, little Alicia has discovered the secret in the basement ... and for her, that dead soldier has suddenly become her closest friend and confidant ... someone who is more than willing to help her rid the house of these unwanted interlopers!

 

After Sarah's death, the girls are sent to a boarding school, from which they do not return until they are teenagers.  Alicia's malevolent nature continues, as she not only scares her grandmother to death using the skull of the dead soldier in the basement, but she also seduces her uncle and leads him to commit suicide.  One by one, Alicia removes the obstacles out of her way so that Berryhill can her hers, and hers alone.  All that remains are her cousins, Julie and Michael.  And never you fear, as she has plans for them as well.  Dark, malicious plans that stem from the very evil of the house itself - evil that only Abigail's slaves, Belle and Sally, have the sense to see.  The curse remains within the halls of Berryhill, and that curse has taken complete control of the soldier's spirit and the once-innocent baby that was so casually thrown across the room by his violent rage.  The two form a symbiotic relationship to carry out that Indian woman's curse, and it seems no member of the DeGault family is safe.

 

Flash-forward some more years, and Julie returns to Berryhill with her husband, Phillip Hunnicutt.  It does not take long, though, for Alicia to frighten Julie to her death, which, in turn, leads to Phillip's depression and his ultimate death.  Which leaves only young Michael, who is far removed from the horrors of that house, taken by his grandparents on his mother's side to be raised away from the memories that could scar him forever.   Michael - who has no real memories of the terrors and tragedies that have overtaken his family for generations.  Michael - who is all grown up and ready to return to Berryhill as a married man, to take over control of the farm and start a new family, bringing joy to a house with a history of darkness and sadness.  Michael - who Alicia is none-too-happy to see, and who she is determined to force out of her house.  It all comes down to these last two DeGaults, and the suspense rises to its highest level yet, as readers wait to see whether good will win over evil, or if the dark curse that has held Berryhill and its inhabitants in its sway for so long will have the ultimate victory.

 

Of course, Bennett gives readers a teaser at the end, with a four-page epilogue, set in the present, in which a new generation of DeGaults arrive in a Porsche, set to take over this land that no one in the family even knew existed until a member of the family died, and a long-hidden deed reveals ownership of the land.  Thus, a new family is ready to take over the farm - is the curse gone, or has it simply lain dormant, ready to spring to life again when these latest white men dare to walk the land where innocent blood was shed?

 

Bennett has no qualms introducing the supernatural into the story, and the spirit of the Union soldier gradually taking more and more control of Alicia's decisions (at one point even interacting with her sexually!) is startling to read.  She is a girl-turned-woman without a conscience, and her systematic destruction of her own family is hard to watch. The house is simply filled with evil, and one has to wonder if Abigail had never buried the soldier in the basement, would all of those horrific deaths still occurred?  Was that one incident - the killing and burying of the soldier - the catalyst that released the curse upon the DeGault family?  Or was it merely the means to an end for that dying Indian's curse?  Either way, the story is extremely sad, and there is no happy ending for anyone in this book!

 

No identification of the artist for the cover art, so I have no way of knowing who painted the cover.  It is as creepy as the story itself, with the foreboding house superimposed over a slowly melting candle, while the young woman in the forefront is running away, her long gown flowing in the wind as she runs.  It is sort of an eerie foreshadowing of the story inside - as the candle slowly burns down, so do the lives of those who live inside Berryhill.  It is also a symbol of those rituals that take place in the basement, as Alicia, and eventually the old witch woman who comes to live with her, perform rites over the grave of the long-dead soldier by candlelight - a picture of the evil being released in the house and on the family that lives within it.  This book, by far, as the darkest one I've read to date.

 

RATING:  8 long strands of glimmering pearls out of 10 for an aptly described "blood-curdling" Gothic tale of terror! 

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. 

 

Misty - 2024 Special

I was actually surprised when I saw this comic solicited in Previews.  I have several collection of the old Misty weekly comic from back in the '70s and '80s, as well as one of the original Annuals that was published in Britain; however, I was not aware that anyone was publishing new stories. Obviously, I ordered it, and when it arrived this month, I was not really sure what to expect.  What did surprise me is that three of the four stories were written by Gail Simone, a comic book writer, I have followed for years.  Her work on Birds of Prey for DC Comics is probably one of the best runs out there (outside of Chuck Dixon, of course), and I loved her run on Wonder Woman.  Thus, seeing her name headlining the creators for this special gave me high hopes - and she did NOT disappoint!

Misty 2024 Special features a beautifully painted cover by Tula Lotay (the pen name for English artist Lisa Wood).  The cover clearly pays homage to the classic images of the character Misty, who graced the covers and inside covers of the ongoing weekly comic, while at the same time giving readers a slight hint as to the first story once you dig inside.  I'm not familiar with Ms. Wood (a/k/a Ms. Lotay), nor do I recognize any of the artists for the four stories (Carola Borelli/Ellie Wright; Aly Fell; Marianna Ignazzi; and Letty Wilson), so I am assuming they are likely all European artists.  The work on the first three stories, all written by Simone, is magnificent (the second one being my favorite); the art on the fourth and final tale is a bit outside my normal likes, but I suppose it does fit the story.

The first tale, "Eleven Lonely Deaths," finds Misty herself walking the short of Syndon Lake, when she meets a photographer who is also a true crime podcaster.  He shares with Misty (and the readers) the tragic history of the lake and the eleven young girls who were murdered there.  A man was eventually arrested and charged with the crimes, but Misty surprises the photographer with news that the wrong man was convicted - and from there, the story takes a couple of surprising twists and turns ... and, well, I don't want to surprise the ending for you, but let's just say the irony is certainly fitting!

The second story, "The Pub at the End of the Road," is probably my favorite of the four tales.  Misty hosts the tale, but she only has a minor background role in the story itself.  A young woman named Willow, the daughter of a rather shady pub owner, is the star of this macabre tale.  While she may look and act like a Disney princess (even caring for the small critters that scurry around the back of the pub), she doesn't see herself as one, thanks to the cruelty of a father that uses her merely to increase his bank account.  Of course, there's the charming young man named David (who bears an uncanny resemblance to a young David Cassidy from back in the day!) who wants to save her from this life.  But, as with any good horror tale, things spiral out of control and ... well, by the end of this story, everyone really does get exactly what they deserve!

The third tale, "Happy Birthday, Mrs. Parker!," plays on the expectations of the reader. In this one, Misty takes on the role of a nurse at a small country hospital, where the nurses gather to celebrate the birthday of one very special nurse named Carina.  The patients refer to her as an angel because of her disposition and her willingness to work all hours of the day and night to help them.  But there's one nurse, Mika, who doesn't like her - in fact, she gets rather nasty to Misty as well!  Well, the story, of course, takes a dark turn when it is revealed the hospital has an unusually high death rate - and the tables get turned on one of the nurses who has been killing the patients!  Oh, and pay attention to the sign on the kitchen wall in the background, as it might give you a hint of what's to come...

The final story is definitely my least favorite of the four tales.  A young girl knows something strange has happened next door, as the neighbors have suddenly disappeared without cause.  When she goes to investigate, she discovers the house has been left with good on the counter and mail piling up at the door.  As she explores further, she comes across a mirror that is cracked ... a mirror that offers her an unusual escape ... or is it actually a trap?  And when she does finally find her way out of the mirror, is it her that comes back - or merely a mirror copy?  The art in this story just does not do it for me.  The story I can take - I like the idea of mirror/mirror worlds with alternate realities or other dimensions.  But I have a hard time appreciating the stylistic art of this tale - it takes away from my enjoyment of reading.

Overall, a pretty good issue, and it is capped off with a beautiful rendition of Misty by artist Shirley Bellwood on the back cover.  Hopefully this issue sells well so that maybe we will see some more specials in the coming years (or maybe even a regular series!).

RATING:  9 bottles of evening strange perfume out of 10 for some fantastic new tales of irony, horror, and Misty-loving fun!

A Scent of Violets - a Queen-Size Gothic

After reading The Scent of Lilacs by Carolyn Wilson, I happened across this book, which also features the scent of a flower in its title.  Obviously, my curiosity got the best of me, so I had to find a good copy of it (which I eventually did on eBay).  This particular book is "A Queen-Size Gothic," which was a line of gothic paperbacks that Popular Library started in the early '70s to compete with the plethora of gothic books on the store shelves.  These queen-size gothics were advertised as "a new idea" that offered "the very best in novels of romantic suspense, by the top writers, greater in length and drama, richer in reading pleasure," as stated on the back of the book.  In fact, the publisher went on to promote them as "READING FIT FOR A QUEEN."  That is certainly some very rich hype to live up to - leading me to wonder, could they do it?

A Scent of Violets does have the standard gothic tropes: a young, naive woman ... a foreboding house in the middle of nowhere ... a mysterious family with dark secrets ... horrifying cries in the middle of the night ... and a supernatural legend surrounding the marsh lands between the house and the nearest village.  But the normal hint of romance between the young woman and at least one of the men in the story is completely absent from this book.  There is no romance here; instead, the author opens the story with our young heroine, Linnet Grey, wondering if she was going to lose her student teaching job at the Academy for Young Girls.  An orphan, Linnet has no family, so if she loses her job, she will have no one to turn to and nowhere to go!  Fate intervenes, though, when Linnet sneaks off to see a play starring the up and coming actress, Chantel Legris.  There is something familiar about the actress, but Linnet has no time to ponder, because she is kidnapped outside the theater and taken in the dead of night to the dark mansion known as Willerby!

I give the author credit for giving readers a fresh take on the gothic tropes.  I certainly was not expecting a kidnapping to get the story started.  And then for poor Linnet to find herself in a secluded mansion with people she does not know, yet who all seem to know her - and detest her!  Who is this person they are mistaking her for, and what did she do to make them hate her so?  When parts of the house seem familiar to her, Linnet begins to wonder if she is losing her mind - had she really lived here before and simply forgotten?  Was she really the person they claimed she was?  Or was she the daughter of a sailor, whose parents died tragically at sea, leaving her alone in the world to survive at an all-girls school with a matron who clearly thought very little of her?  And what is that fleeting light that flashes by her window at night, going out into the marshes before disappearing?  And who is behind the woeful cries coming from the closed-off tower, the door to which is kept locked?  And where is the scent of violets that she keeps smelling in the halls coming from?  Are there ghosts haunting the halls of Willerby, and will Linnet soon be joining them?

I love the fact that Linnet is somewhat timid, having been trained at her school to adhere to orders given; yet, at the same time, she has a backbone, and she is not afraid to stand up to the mysterious and handsome Marcus Bellamy, who insists she is his arrogant, detestable ward who ran away two years ago to avoid her responsibilities and to hide from the damage she has caused.  I also loved the young little made, Cissie, who ends up becoming Linnet's only friend in that lonely, old house - afraid of the housekeeper, Mrs. Price, but willing to eavesdrop at doors and warn Linnet of what she overhears!  And I was actually surprised when the author introduced another young man into the picture - Rupert Manning, a friend of Bellamy's who has come to the house to provide advice on how to handle Bellamy's ward.  He turns out to be a sniveling little coward who is more caught up in his loyalty to his friend to see what is happening right in front of his own eyes.  Which leaves Linnet to once again fend for herself.

The author is Ruth Fabian, which is one of the many pen names used by British writer Aileen Armitage Longden.  She wrote more than forty novels that were published between 1971 and 2005, many of which were historical romances and gothic in nature.  A Scent of Violets is a mixture of the two, as it is set in 1882, providing a historical setting for her gothic terror.  Despite having two possible love interests (Bellamy and Manning), the title character in the story does not find herself attracted to either of them, even though she recognizes the handsome physical traits of both.  Thus, Fabian (Longden) is able to provide readers with a tale that features a very strong female protagonist who does not need a man to rescue her or save her from the frightening situation into which she is thrust.  She creates her own plans for escape, she faces the supernatural sounds and sights on her own, and the ultimate sacrifice that gives way to her freedom is a choice she makes all on her own.  And this is what makes Linnet a very likable character that the reader is anxious to see freed from her Willerby cage.

The cover is beautifully painted, but there is no indication as to who the artist is.  The young woman on the cover is reminiscent of Lara Parker as Angelique in the original Dark Shadows television show - that cascading blond hair, that blue dress.  And that dark mansion behind her could easily stand in for Collinwood.  Would love to know who the artist is, just to see what other work he or she has done and how it compares to this piece.

RATING:  10 violet cachous candies out of 10 for an outstanding gothic novel that provides all the right elements without the unnecessary romance thrown in!