I talk a lot on this blog about the initial Gothic heyday at the turn of the nineteenth century, which sprung up after the publication of Horace Walpole’s The Castle of Otranto and brought us such authors as Ann Radcliffe, Matthew Lewis, and William Beckford. But these days when you mention the Gothic to someone not overly familiar with the genre, they may picture a more recent heyday: the boom of Gothic romance and suspense novels in the mid-twentieth century, many of them mass-produced by a handful of genre-focused publishers. These books are perhaps best remembered today for their evocatively illustrated covers that employed common visual tropes such as a fleeing woman in a diaphanous dress or nightgown, a looming manor castle in the background, and a single illuminated window peering out like an eye. The book most often credited with kicking off this boom is Mistress of Mellyn by Victoria Holt. Continue reading Classics: Mistress of Mellyn
Who says the Gothic has to be relegated to creepy old castles in Europe? While 