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Book Review: Ladies of Gothic Horror: A Collection of Classic Stories edited by Mitzi Szereto

Ladies of Gothic Horror: A Collection of Classic Stories edited by Mitzi Szereto

Midnight Rain Publishing, 2019

ISBN-13: 978-1794556317

Available: Paperback, Kindle edition

 

Next time someone says that women can’t write horror fiction, point them to this book. In Ladies of Gothic Horror,  Mitzi Szereto has collected 17 stories by women writers of the 19th and early 20th centuries that will creep you out, chill your bones, and check the locks on your doors.  While some names may be more familiar to readers of supernatural fiction, such as Mary Shelley, Mary E. Wilkins Freeman, and Charlotte Perkins Gilman, many of the stories are by women writers better known for other works: Edith Nesbit is chiefly known for her children’s books, Elizabeth Gaskell for her social realist novels, Edith Wharton for her novels about the American upper class, Virginia Woolf for her modernist and feminist writings, Helena Blavatsky for her theosophical and occult work. Szereto follows each of the stories with a detailed biographical note about the author, when that information is available (very little is available on Eleanor F. Lewis, who evidently wrote only two stories– it’s too bad she didn’t write more).

Many of these women were supporting their families by writing for magazines, and their writing can be dramatic, depending on stereotypical characters, but they also skillfully build suspense and atmosphere, administer retribution, and illuminate tragedy.  Standout stories include Gertrude Atherton’s “Death and the Woman”, which manages to create dread and suspense without ever having the main character leave her husband’s bedside;  Edith Nesbit’s “Man-Size in Marble”, in which a newlywed husband discovers why you should pay attention to your housekeeper; Mary Elizabeth Braddon’s “The Cold Embrace”, in which a young man learns that having your fiancee return from the grave is not actually romantic; Edith Wharton’s “Afterward”, in which an American couple discover that an English haunting is no joking matter; and Charlotte Perkins Gilman’s famous “The Yellow Wallpaper”. Elia W. Peattie’s “The Room of the Evil Thought” and Eleanor F. Lewis’ “The Vengeance of a Tree” are brief, terrifying stories of strange hauntings. Helena Blavatsky’s “The Ensouled Violin” is positively gruesome. The collection ends with Virginia Woolf’s “A Haunted House”, a much lighter piece than the rest, that provides a satisfying conclusion.

Ladies of Gothic Horror does a valuable service by spotlighting supernatural and gothic works by women writers better known for other work and by introducing some of the 19th and early 20th centry women writers of supernatural fiction that can still be found in print (some, like Mary E. Wilkins Freeman’s The Wind in the Rose-bush, are even available free on Kindle).  While there are a few writers, like Eleanor F. Lewis, who may have been previously unknown, this book makes a good starting place for further investigating works by women writers of supernatural and gothic horror from the time period. There are few other anthologies similar to it that are still in print, although I expect we will see more now that people are discovering women writers of horror through the just-released Monster, She Wrote by Lisa Kroger and Melanie Anderson, which we recently reviewed.  Ladies of Gothic Horror is a great opportunity for widening your horizons and experiencing the chills, suspense, and terrors, that can be found in these women’s works. Highly recommended.

 

 

Posted on September 18, 2019 by , Reply

Book Review: The Dark Descent of Elizabeth Frankenstein by Kiersten White

The Dark Descent of Elizabeth Frankenstein by Kiersten White

Delacorte, 2018

ISBN-13: 978-0525577942

Available: Hardcover, paperback, Kindle edition, audiobook, audio CD

 

Elizabeth Lavenza is the ultimate example of the “cool girl”  described by Amy Dunne in Gone Girl: she is never herself, always what someone else (usually a man) needs her to be. An orphan purchased by the Frankenstein family to be solitary Victor’s friend, she knows her status is always endangered unless she can demonstrate how much she is needed. From the very first, the observant Elizabeth is aware that there is something not quite right with Victor, that she is needed to help him become socially acceptable on the surface, while covering up and erasing his more disturbing behavior, and she does everything she can to make certain he needs her as much as she needs him. Her only friend is Justine, a girl she rescued from an abusive mother and was able to have installed as governness for Victor’s younger brothers– but even Justine does not know the extent of what Elizabeth has done to make herself essential to Victor and his family. At the same time, knowing that he can be erratic, unreliable, and sometimes even dangerous, she alters herself  in his absence to appeal to Henry Clerval, a bright and optimistic young man of the merchant class who is mesmerized by both Victor and Elizabeth. As duplicitous as Elizabeth is, she knows she cannot keep it up indefinitely, and she is at a desperate disadvantage in Victor’s absence once he leaves for university and stops responding to her letters. Finding him, saving him, and covering up his disturbing actions while also trying to avoid knowing exactly what he’s done is essential to her continued status as a ward of the Frankenstein family.

In the original novel, Elizabeth is an afterthought as Victor Frankenstein tells his story– she doesn’t even have a speaking part, and while he is completely involved in his obsession, she totally disappears from the story. White fills in some of those blanks by placing Elizabeth at the scene of Victor’s crimes and experiments in Ingolstadt and making her complicit in covering them up. The abusive nature of the Frankensteins’ relationship with Elizabeth is such that she is able to even deceive herself about horrific events that it is clear to the reader were caused by Victor’s activities. Anyone who has read Frankenstein knows what happens to Justine and Victor’s younger brother, William, but it’s after this that the novel takes a left turn. Learning that Victor did successfully create a monster, Elizabeth overhears a conversation between the monster and Victor that leads her to believe that something terrible is supposed to happen on her wedding night. Rather than being smothered as she is in the novel, Victor reveals his terrible acts and future plans to immortalize Elizabeth. When she reacts in horror and threatens to expose him, he has her committed to an asylum, diagnosed with hysteria. This was an outstanding move on the author’s part. Few YA readers are probably aware of the injustice that allowed women to be committed to asylums based only on their husband’s or father’s assertion that they were mentally disturbed (since most won’t read “The Yellow Wallpaper” until college) but it did actually happen and is a very clever way of getting Elizabeth out of the way so the Frankenstein story can advance further.

I totally understand wanting to give Elizabeth a voice, flesh out Justine, and add another female character to the story (Mary Delgado, a bookseller from Ingolstadt and Elizabeth’s rescuer, the most sensible and likable person in the book). It’s not just unsatisfying but infuriating that in Shelley’s novel Elizabeth and Justine basically exist to be fridged. And I appreciate that White worked hard to create an Elizabeth of her times, who was invalidated and gaslighted by the men in her life in a way that forced her to navigate social and gender roles seamlessly in order to believe she could have a place at all. There is some great writing here, especially in scenes where she takes an active role in witnessing, encouraging or covering up Victor’s deeply disturbing actions (there is a scene with a bird’s nest at the beginning and another with Victor’s brother that will stick with me for a long time), on her wedding night, and in the asylum. But somehow, as a whole, the book doesn’t quite ring true for me, and I feel that it’s longer than it needs to be. I want to like it, and it could just be that after a year of reading about Mary Shelley and Frankenstein I’m worn down,  but Elizabeth as a character doesn’t stand on her own, and I don’t think her voice successfully carries the story on its own, either. Just as Gone Girl’s Amy Dunne can’t tell the entire story of her twisted marriage on her own, Elizabeth needs another voice to balance hers in telling her story. Recommended for Frankenstein-lovers, if they haven’t burned out after a year of adaptations, retellings, critical studies, and biographies, and for teens who enjoy complex characters and have strong stomachs.

Editor’s Note: The Dark Descent of Elizabeth Frankenstein by Kiersten White is on the final ballot for the 2018 Stoker Award in the category of Superior Achievement in a Young Adult Novel.

 

Posted on March 23, 2019 by , Reply

Book Review: Mary’s Monster: Love, Madness, and How Mary Shelley Created Frankenstein by Lita Judge

Mary’s Monster: Love, Madness, and How Mary Shelley Created Frankenstein by Lita Judge

Roaring Brook Press, 2018

ISBN-13: 978-1626725003

Available: Hardcover, Kindle edition

 

After the flood of books about Frankenstein and Mary Shelley that accompanied the bicentennial of the first publication of the book last year,  despite my fascination with both, I was pretty exhausted from reading about them by the time 2019 rolled around, but Mary’s Monster is something special. This verse biography of Mary Shelley’s life is framed by imagined commentary from the Creature itself. While in a text-only format this might not have worked, nearly every page is also a visual feast, pairing Lita Judge’s free verse with incredible black-and-white watercolor illustrations, for nearly 300 pages. The powerful illustrations integrated into the text reminded me at times of A Monster Calls, but that is a fictional prose novel, while this is nonfiction– a detailed verse biography. Judge structured the book into nine parts, to represent the nine months it took Mary to finish writing Frankenstein, and also the same length as a pregnancy. Mary’s thoughts about creation, love, abandonment, despair, and destruction were central to her identity, and she certainly dealt with all of these issues in her own life, from the death of her mother in giving birth and difficult childhood, to her intense relationship with Percy Shelley and her own pregnancy.

In introducing her, the Creature presents her as a complex character, outspoken and imaginative, and commands us to “hear her voice”. Indeed, even though they are not necessarily all direct quotes, the poems in the book are all told from Mary’s point of view, and Judge has pages of notes at the end identifying where she found individual lines. We hear Mary’s voice as shaped by Judge’s perceptions, choices, and words. Through Part 7, we get a relatively straightforward narrative of Mary’s life from childhood through the summer at the Villa Diodati, during which she started writing Frankenstein.  Part 8 starts with the suicides of her half-sister Fanny and Shelley’s wife Harriet and expresses her intense grief over their deaths and the early death of her first daughter in a nightmarish, Goya-esque collage of her internal turmoil, the responses of the very tangible Creature she creates, and the way the two of them are twisted together: he claiming “I am your creature,” and her return revelation, “My creature is me!”

This is not a light read. Mary Shelley’s life was intense, passionate, and difficult, and while Judge doesn’t go into the details, she doesn’t shy away from writing about sexual relationships, suicide, children dying, drug use, and bad reputation (as opposed to a recent children’s book that described Mary visiting the Villa Diodati with “her dear friend Percy Shelley”).  Judge omits any mention of Mary’s wedding to Shelley after Harriet’s suicide, which is, to me, a confusing thing to leave out, although I will grant that it wouldn’t have contributed well to the flow of Part 8, which is focused on Mary’s anger and grief (Judge explains her reasoning in an author’s note). In addition to an author’s note and the notes on the poems, Judge also provides additional information about Mary Shelley and Frankenstein following the book’s initial publication; thumbnail descriptions of the lives of major characters and family members, such as William Godwin, Mary Wollstonecraft, Percy Shelley, and Lord Byron; a list of books that Mary had read, according to her journal; and a bibilography. It’s not everything you want to know about Mary Shelley, but it’s a great place to start. Mary’s Monster is a breathtaking look at Mary Shelley’s younger years (Part 9 ends in 1823, and she lived until 1851), and, although it is targeted at YA audiences, I highly recommend it as a unique title that does an outstanding job of melding poetry, biography, art, and literary criticism into a powerful, magnetic, visually compelling, and well-researched story.

Reviewed by Kirsten Kowalewski

Posted on March 6, 2019 by , Reply
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