On a day nearing the end of summer, during a violent late afternoon thunderstorm common to east coast FL that time of year, I took refuge in a dim corner of the library. I was 9 or 10 years of age at the time, and I had wandered away from the young adult section where I usually selected the books I would read for the week.
I distinctly recall finding a small, worn paperback nearly hidden between two rather bland tomes of adult literature; the cracked spine laced with embossed vines and thorns had caught my attention and I gingerly drew it forth for closer examination. The shadowy darkness of the tattered cover provided the backdrop for a beveled tower, back lit by the moon and away from which a pale faced and wan young woman fled, her ruffled peignoir trailing and tangling behind her.
Though my choice of reading material was never censored at home I instinctively felt that this mysterious book would prove to be not quite… wholesome - corrupt, even. That there was something inexplicably illicit contained in the tale told within. And with that, even before the first page was turned, before the first word was read - I had discovered a great literary love. I’ve long since forgotten the name of the book and the details of the story, but I will always remember how my heart pounded to see the sheer terror conveyed on that woman’s face and wonder breathlessly…what was she running away from?
Ghosts, phantoms and strange sinister spirits. Abandoned monasteries, isolated castles. Brooding, mysterious gentleman. Wild, turbulent love and bitter betrayals. Fearful family curses. Dreams, illusions, obsessions, murders.
This is just a small list from the top of my head of the themes I’ve since encountered in these gothic tales of romance and for all I remember, she could have been fleeing any number of them!
Sara over at My Love Haunted Heart is “crazy about vintage gothic romance”; she is a connoisseur and collector of lurid paperback novels and shares my passion for these torrid tales. When I found her blog with hundred of scans of bewitching, beguiling cover arts and detailed descriptions of the stories, I knew at once I would have to reach out and say hello. It is always intensely fascinating to run into someone who shares an obsession held dear to one’s heart - wouldn’t you agree?
Sara kindly agreed to answer some questions for After Dark in the Playing Fields which I have posted below, as I am sure many of our readers share a similar passion for these books. Included are several gorgeous scans of the books mentioned herein. Enjoy! And thank you Sara, for your time and indulgence.
GND: As you’ve stated yourself, on your “about” page – these “small, usually unappealingly moldy smelling paperbacks” are a guilty pleasure for you. I imagine the same could be said for many people – why do you think that is, what is it about the Gothic romance that draws people in? Does the appeal have more to do with the bewitching covers, or the terrible deeds hinted at within?
Sara: True gothic romance is all about engaging the nightside of your brain, and the best gothics can’t help but fascinate. Who doesn’t like being frightened or love romance? So right there, having that blend of sexuality and suspense is irresistible – for me anyway.
And, certainly a good cover helps! Most of the gothics I write about come from the 60’s & 70’s when an explosion of mass produced paperback fiction hit the shelves, so I guess there was a lot of competition to attract readers. Many of these books are beautifully illustrated by some amazing artists. From the feedback I get on the blog, a lot of people collect these books for the covers.
On the other hand… writers such as Tania Modleski (Loving With A Vengeance, Mass Produced Fantasies For Women) and Joanna Russ (Somebody’s Trying to Kill Me and I Think It’s My Husband: The Modern Gothic), explore the appeal of gothics within the context of female paranoia and a woman’s ambivalent feelings towards marriage. Both cite Terry Carr, a former editor at Ace books, who is credited with explaining the popularity of these gothics as:
“The basic appeal… is to women who marry guys and then begin to discover that their husbands are strangers… so there’s a simultaneous attraction/repulsion, love/fear going on. Most of the “pure” Gothics tend to have a handsome, magnetic suitor or husband who may or may not be a lunatic and/or murderer…it remained for U.S. women to discover they were frightened of their husbands.”
I’m not so sure about this! I was hooked on gothics long before I even thought about getting married. But yeah, that love / fear combination is a pretty heady brew…
Tell me about how this fascination began?
Well I have always been interested in horror, the occult, witchcraft etc. Why? Who knows? My mum was a fan of historical / gothic romances penned by writers like Victoria Holt and Anya Seton and the first gothics I read were hers. I was lured in by the covers and by the shades of mystery and the occult that were alluded to in these works.
Though I read a lot of horror as a teenager, I didn’t read much fiction of any kind in my twenties. I was more into music. But I still collected my gothics - in particular the Dark Shadows books by Marilyn Ross. I think it was something about the covers and the almost chaste, low key approach to ‘nameless terrors’ or ‘unmentionable evil.’ They hinted rather than screamed and as such left more room for my own imagination to play.
What are the top 5 titles you would recommend for someone interested in reading these books? Are there any so awful, so atrocious that you would caution against reading them? Feel free to include those as well!
The best gothic romance writers are the ones who obviously love the genre themselves, or at least aren’t afraid to embrace all the tropes that make gothics so special. In particular, I’d recommend:
Virginia Coffman’s Moura, Victoria Holt’s On the Night of the Seventh Moon, Mary Stewart’s The Ivy Tree, Daphne du Maurier’s Jamaica Inn, and Rona Randall’s Knight’s Keep.
The gothic romances that became very popular in the 1960‘s -1970’s were churned out in the thousands. Because so many were produced to meet the demands of the readers at the time, publishers became a little ‘creative’ with using the word gothic and it can be a bit of pot luck what you get – though this can be part of the appeal of collecting and reading them nowadays.
So, for books that stretch the definition ‘gothic romance’ to breaking point but are nevertheless fantastically weird and wonderfully twisted, I’d recommend: Seed of Evil by Petrina Crawford, The Black Dog by Georgena Goff, A Woman Possessed by Christine Randell and any of the Dr Holton series by Charlotte Hunt.
What are some of your most loved novels in this tradition? Some of your favorite covers? Do you find the cover influences/sways your opinion at all?
The gothics I keep coming back to tend to be the classics – Wuthering Heights, Uncle Silas, Jane Eyre. Unfortunately most publishers tend to reprint these with fairly boring covers - one welcome exception being the Paperback Library Gothic series, who published quite a few classic gothics with some gorgeous cover art. Their reprint of Uncle Silas is one of my favourites; another cherished gothic of mine is my Classic Pan version of Wuthering Heights.
In the 60’s & 70’s, the archetypal gothic romance cover featured the beautiful young woman in a filmy nightgown running from a foreboding house with a single lit window. It’s a combination many fans of the genre love and no wonder, as some of the artwork is breathtaking – in particular the houses! Diamonds may well be a girl’s best friend but the real love affair in a gothic is between a woman and her house and the detailing that goes into some of these ‘gloom-ridden’ mansions is superb! Without a Grave by Poppy Nottingham (artist unknown) and The Bat by Mary Roberts Rinehart (Dell 1969, cover art Hector Garrido) are just two examples.
I’m also a big fan of graveyard settings - The Yesteryear Phantom by W.E.D Ross (artwork Robert Maguire) and The Love of Lucifer by Daoma Winston (artist unknown) are both gorgeous.
Trees are another subject that makes for great gothic artwork – check out Lodge Sinister by Dana Ross (cover Hector Garrido) and the spooky hidden tree in To Seek Where Shadows Are by Miriam Benedict (artist unknown).
I imagine it must be difficult to track down the illustrators responsible for creating the cover art, but do you have any favorite artists?
Unfortunately, many of the artists just aren’t credited on the covers so it can be very difficult finding out who the artwork is by. I have spent a lot of time squinting at book covers trying to match indecipherable signatures to some sort of name via various internet search engines. I am very lucky that a lot of people who know far more than I do about this subject contact me via my blog with information, for which I am eternally grateful!
Victor Kalin is one of my favourite artists, again for the beautiful attention to detail and gorgeous recreation of mood and atmosphere. His daughter emailed me a link to a site of his artwork over at http://victorkalin.shutterfly.com
It appears from your site that the stories you favor are from a certain period of time –60’s, 70’s, early 80’s? Do you read much in the way of early Gothic/Victorian Romantic Literature? Do you read any contemporary Gothic fiction? How would you say the genre has changed or evolved through the years to suit a modern audience?
I constantly read and reread Poe. Others might disagree but for me, gothic romance begins and ends with Poe. Vernon Lee (Violet Paget) is another treasured writer of mine. I’m also a big fan of Victorian ghost stories, Dickens and just about anything from any of the Bronte sisters.
The Castle of Otranto by Horace Walpole is widely ascribed as being the first gothic ever written and for anyone new to the genre, you could do a lot worse than start with this since it’s very short, wonderfully bonkers and I’m pretty sure you can download it for free over at Project Gutenburg.
The classic gothic romance of old usually featured an imperiled young woman, recently married or working as a governess somewhere in the middle of nowhere - far from family, completely at the mercy of her tall, dark and brooding husband or employer. This was very relevant in the days the early gothic romances were written, as it was not unusual for women to end up marrying virtual strangers, setting up home miles from family, socially isolated and financially vulnerable.
Modern gothics recreate this sense of isolation and vulnerability in a variety of ways. It helps if the protagonist is an orphan and many a gothic heroine shares this fate – (a fair few also end up married to their cousins, interestingly enough). It could be that she needs to recover from a broken relationship or bereavement and so accepts a job as secretary on an isolated estate somewhere. Or simply that she has travelled abroad on holiday to an unfamiliar place and has stumbled into the wrong kind of trouble.
A common theme for many modern gothics is the one where the heroine suddenly inherits a huge old house from a distant relative, or is invited to stay with family she never even knew she had. Of course, these unexpected windfalls come at a price! One of my favourites of this type is A Touch of the Witch, by June Wetherell, in which our leading lady wakes up in the middle of her first night in her new mansion, only to discover a black magic coven hosting an orgy in the basement!
As for anything written this side of the millennium, well, I don’t read much contemporary fiction so I can’t really comment. That’s not to say there aren’t some great books with elements of gothic romance being published - The Thirteenth Tale by Dianne Setterfield, The Lace Reader by Brunonia Barry, The Poison Tree by Erin Kelly, Affinity by Sarah Waters and The Angel’s Game by Carlos Ruiz Zafon are a few that spring to mind.
Map out your ideal story for me, (let’s say you were going to try your hand at it) – from the heroine, to the villain, to the setting, the plot, etc. What part does evil play in a gothic story? Is the supernatural needed or desirable to enhance it?
A historical gothic romance would require far too much research, so ‘my’ gothic would be set in the here and now. I like damaged heroines, people with a bit of a past, so perhaps she’s just come out of prison or is on the run from someone. In any event she’s ended up in an isolated town, under an assumed identity, with no family or friends to fall back on.
I live by the sea in a place rumoured to be riddled with underground tunnels used by smugglers. I like this idea. Lots of gothics use disused tunnels and mines for people to fall down and get lost in. So my gothic would be set somewhere by the sea. The seacoast also makes an ideal setting for stormy sea-swept clinches - with the added advantage of having some treacherous cliffs for people to hurl themselves off of when it all goes horribly wrong.
My heroine would need a job and so would end up working in The Big House on the Hill. The really old, really crumbly big house peopled by characters who are all just a little bit strange… I love horses and all things equestrian so perhaps she ends up working in the stables there or something. (Unlike the house, the stables would not be old and decrepit but state of the art - like many aristocrats, my master of the house would indulge his horses far better than he does his own family).
Many gothics employ two leading men in their stories – a villain, with whom the heroine initially falls in love but who is all wrong for her - and a hero, striding in at the last chapter to save both her heart and her soul. I’m not such a fan of this. I prefer exploring the dynamics within twisted, tortuous relationships so my leading man would be both hero / villain with his own dilemmas and choices to make.
My leading man owns the big crumbly house on the hill and is irresistibly handsome of course, but sad. His twin sister died a few months back from a mysterious wasting disease – caused by an ancient family curse. He keeps her body embalmed in an upstairs bedroom and spends an inordinate amount of time in there, grieving over her beautiful corpse. When he isn’t locked away in the bedroom with his dead sister, he’s researching dusty old grimoires, reciting unholy incantations during depraved rituals in the family mausoleum, desperately trying to invoke a demon with the power to bring the dead back to life.
Sure enough, my romantic leads can’t help but become attracted to each other, growing closer and closer with each new chapter. But, as the demonic forces gather and swell around this accursed place, strange events start happening. I like the idea of my heroine being plagued by nightmarish visions so maybe the ghost of the dead sister is becoming restless and is haunting her.
Anyway, as Halloween draws nearer, we learn the ultimate sacrifice is needed to bring the dead twin back to life. So… just how far can our heroine trust the man she has come to love?
I have no idea how it would end but I tend to prefer the not so happy endings.
Where are your favourite haunts for searching out these titles?
I can’t walk past a charity shop or second hand book store without going in and having a look. And I’m lucky to have quite a few near where I live!
Rainbow Books in Brighton is a regular of mine, though it’s not the best place if you’re at all OCD about neat rows of books! The horror and romances are stashed in big piles in the basement and the romance pile in particular gets in a terrible state! I nearly got locked in one night - but for a stack of books falling on top of me and making enough noise to wake the dead, the owner had thought everyone had left and was just about to shut up shop for the day…
Thanks again, Sara for taking the time to answer all of my nosy questions and for sharing your love of the paperback gothic romance novel with us! Be certain to check in at My Love Haunted Heart for more reviews and Sara’s flickr page as well for a great deal more beautiful cover scans!
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