Maggie reviews Wild and Wicked Things by Francesca May

the cover of Wild and Wicked Things

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With a frenetic, Roaring Twenties-type vibe, Wild and Wicked Things by Francesca May is set in a post-WWI society where half of society is trying desperately to recover from the devastation of the Great War, and the other half is trying desperately to party hard enough that they forget there was devastation in the first place. There is a Prohibition in full effect, if Prohibition was for magic and magic paraphernalia rather than alcohol, but on isolated Crow Island, real magic is still available for the right price or if one knows where to look. Timid Annie Mason arrives on the island to settle her late father’s affairs and locate her estranged friend Beatrice, and she is unprepared for the brazen island nightlife, or the lure of the forbidden. Full of gothic decaying houses, blood magic, and that feeling of getting an instant crush on a girl in a well-made suit, Wild and Wicked Things is a thrilling summer fantasy for anyone interested in witchcraft with a side of house parties.

When Annie moves to Crow Island for the summer, she rents what she thinks is an isolated cottage, only to find that it’s next door to a large and rundown mansion named Cross House that still hosts opulent parties. Next door, Emmeline Delacroix and her friends desperately continue hosting the magical parties their late mentor Cilla used to be famous for in a desperate attempt to keep their lives on track. Emmeline is drawn to Annie, despite Annie having no place in her world of underground deals and rituals. Annie, for her part, is drawn both to glitz and the thrill of a little danger that she hasn’t experienced before and her connection with Emmeline who she finds dark, mysterious and compelling. And the more she digs into why Beatrice came to the island and her late father’s affairs, the more she becomes enmeshed in Emmeline’s world of underground magic. 

I quite enjoyed the vibes of this book. The atmosphere is lush and compelling, but May doesn’t fail to convey the gothic undertones of decay that lurk in every corner of the island. All through this glittering scenery is the sense that official ruin could fall at any moment if the wrong person decides to notice their banned magic, and yet Cross House’s livelihoods demand that the glittering party goes on. Emmeline and Annie’s budding relationship seems both inevitable and doomed, and I loved the slow reveal of backstory for all of the main characters. Into this heavy atmosphere, May injects a series of bad decisions and unfortunate circumstances that leave both the characters and the reader scrambling.

In conclusion, Wild and Wicked Things is a thrilling summer read. The vibes are immaculate, the setting is decadent, and the action is wild.  It’s a perfect way to simulate a little getaway thrill and indulge in your gothic witchcraft side at the same time. 

Maggie reviews This Poison Heart by Kalynn Bayron

This Poison Heart cover

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This Poison Heart by Kalynn Bayron follows Briseis, a Black teenager who lives with her two moms in Brooklyn, helping them run their flower shop. Briseis has plant magic and can grow plants from a touch, but she doesn’t know the limits of her powers or how to control it. Unlike a lot of YA fiction, Briseis isn’t trying to hide her abilities from her parents, but she is hiding that her plant affinity is drawing her strongly towards poisonous plants, something hard to hide or experiment with while in Brooklyn. A surprise inheritance of an estate from an aunt Briseis never knew she had seems like the answer to a lot of their problems – they can get out of city for the summer and re-examine their struggling finances and Briseis will have plenty of room to experiment with her powers. But small town New York state is a world away from Brooklyn and Briseis’s birth family has a way weirder, and darker, backstory than they can ever imagine. When Briseis discovers a poison garden on the estate and strangers start showing up to ask her for magical remedies, she realizes there is more going on than meets the eye. Bayron weaves Greek mythology and magical realism into a fun coming of age story that is pure Black girl magic, with a bonus queer crush on the rich and mysterious girl who knows more than she’s letting on.

What I enjoyed most about This Poison Heart was the mix of YA sensibilities and gothic/mythological atmosphere. Briseis banters with her mothers and worries about her social life, but the location is a decaying mansion, a poison garden, and a small town where they don’t quite fit in yet. The poison garden she finds on the estate is so poisonous that literally no one else can get in without Briseis shielding them with her powers, but the plants leap to be near her like eager pets. There are teenage dates, but also a letters full of cryptic clues from her aunt. Briseis worries about how her hair looks and researches Greek legends with equal fervor. At one point, there’s a showdown in an old graveyard. It’s fun, but spooky. I had a fun time reading it, and I also had to urge to find some youths to recommend it to.

The heart of this story though is Briseis’s relationships. She has grown up knowing she’s adopted, and she shares a deep and loving relationship with her moms. She worries about the sacrifices they make to keep their shop open and help Briseis live her best life. They worry about if her powers will hurt her, or if she’ll make friends. The decision to move to her aunt’s estate is one they make together. Briseis has become estranged from her Brooklyn friends, but she (and her moms) are thrilled when she immediately meets new people. Carter knows his way around town and fills the friend void in her life. Briseis also develops an instant crush on Marie, a mysterious and rich girl who seems to know an awful lot about Briseis’s birth family (Briseis’s moms are especially delighted by this development). But Briseis is not fated to sit back and enjoy a summer fling in her new country estate – rather, the more she discovers about her family’s past, the faster developments happen, until not only Briseis but also her family and new friends are caught up in a web of mystery, magic, and mythology.

In conclusion, This Poison Heart was an exciting and fun YA novel. I greatly enjoyed the magical realism and gothic setting, and the Greek mythology was a fun addition and not too heavy-handed. As usual, I delight in books where the queerness is casual – Briseis’s two moms are presented as a loving fact and not a plot point. Briseis’s crush on Marie is overwhelming to her because that’s how teen crushes feel, not because she’s a girl. There’s Black family history in an estate where they’ve lived for generations but also culture shock in moving from Brooklyn to small town life. I had a great time reading, and I can’t wait for the sequel, out in June. Have a fun romp yourself, or pick it up for the magical-loving teens in your life today.

Rachel reviews Our Wives Under the Sea by Julia Armfield

the cover of Rachel Reviews Our Wives Under the Sea

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Stunning, poignant, and totally unputdownable, Julia Armfield’s debut novel Our Wives Under the Sea (Picador 2022) is one of my favourite queer novels of 2022!

Our Wives Under the Sea is a dual-perspective narrative that follows both Miri and her wife Leah. Miri’s chapters narrate Leah’s return from a deep-sea mission that culminated in tragedy and unanswered questions, leaving Leah missing for months. Although Miri has Leah back now, Leah is not the woman Miri married. With the events of Leah’s mission shrouded in mystery, Miri only knows that whatever Leah encountered while she was stranded on the ocean floor, she’s brought some of it back with her. As Leah begins to change, and as Miri attempts to hold onto the shreds of their normal life together, it becomes more and more clear that this may be something the two women can never come back from.

As soon as I read about this book’s release, I ordered it from the UK to avoid waiting for the North American release. This was a beautiful novel, full of romantic sensibility and gothic undertones, as queer as it is literary. I knew that I would finish this novel in one sitting, and indeed, I was unable to put it down. The structure of the narrative, framed in alternating chapters from Miri and Leah’s perspectives, helped to establish a sentence of dual time and mystery in the novel, and Leah’s narrative refuses to answer many of our questions right away and Miri has a difficult time explaining what she’s seeing. The novel’s alternating chapters are also stark because they go some way to reflect the isolation and breakdown communication that the two women endure, allowing the reader to anticipate the convergence of perspectives at the very end. The perspectives in this novel are unique and individual, each rendered with the kind of poetic literary voice I so love to read.  

Armfield’s novel is a contemporary queer gothic that links a love between two women with a love for the sea. Connections between lesbians and the ocean—or women and water more generally—are pervasive in queer writing, but Armfield manages to do something entirely new within the genre. I was drawn into the poetic and careful writing I found so compelling in Armfield’s collection salt slow (2019) and the careful pacing of this novel allowed me to both luxuriate in the language and be drawn in by the plot.

Our Wives Under the Sea is one of the best queer novels of the year and is a perfect example of the dynamic and tremendously beautiful qualities I look for in queer fiction. I can’t recommend this novel enough.

 Please follow Julia Armfield on Twitter and put Our Wives Under the Sea on your TBR on Goodreads.

Rachel Friars is a writer and academic living in Canada, dividing her time between Ontario and New Brunswick. When she’s not writing short fiction, she’s reading every lesbian novel she can find. Rachel holds two degrees in English literature and is currently pursuing a PhD in nineteenth-century lesbian literature and history.

You can find Rachel on Twitter @RachelMFriars or on Goodreads @Rachel Friars.

Meagan Kimberly reviews Plain Bad Heroines by Emily M. Danforth, illustrated by Sara Lautman

Plain Bad Heroines by Emily M. Danforth

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The book starts with The Story of Mary MacLane, a real-life figure in writing. It’s this book that the girls of Brookhants School for Girls center their Plain Bad Heroines Society around. But when three girls die and the book is found at both death scenes, it soon becomes a feared object. Even the women who run the school, Libbie Brookhants and Alexandra Trills, partners, have different experiences with the curse. Jumping to the modern-day, the contemporary heroines, author Merritt Emmons and actors Harper Harper and Audrey Hall, are working to bring the story of Brookhants to life.

Each generation of stories tied to Brookhants finds girls exploring their sexuality and following their desires. But it’s also a place where tragedy befalls so many of the heroines who only wanted to live freely. The horror of Brookhants embodies the curse that is the patriarchy against queer women.

Through the contemporary storyline, Danforth explores the exploitative nature of horror. The characters set out to tell the story of Brookhants and the tragic deaths, but their director, Bo, turns it into a found-footage documentary about the making of the movie. To do so, he engages in unethical behaviors and gaslighting.

Overall, the novel is never terrifying so much as it is atmospheric and creepy. It’s the epitome of Gothic horror, creating an environment that messes with the characters’ sense of reality. It makes the reader question whether or not they’re actually experiencing hauntings or if it’s all simply in their heads.

SPOILERS BEGIN

After so much build-up though with the curse of Brookhants, the yellow jackets and Orangerie events, the ending is anticlimactic. When establishing his plan to create a documentary, Bo enlisted Audrey to be his “inside woman,” telling her she’d be the only one who knew this plan. But it turned out they all knew what was happening and no one was really out of the loop. So it begged the question: Did any hauntings actually happen?

SPOILER ENDS

Among the characters, there aren’t any particularly great protagonists to root for, which is the point. The women aren’t plain bad heroines, but they’re not pillars of virtue and goodness either. They’re human, messy, capable of making good and bad decisions, and simply interesting. It’s hard not to become engrossed in their lives, even if they can be frustrating.

Danforth expertly created unlikable characters, especially with Bo and all the Hollywood types. They definitely give meaning to the phrase La La Land. Everyone in the three heroines’ circles has an agenda and openly uses and manipulates them, all for the sake of art. It’s this kind of toxic behavior that makes it easy to sympathize with Audrey, Harper and Merritt, even when they’re at their worst.

The writing is deft as Danforth switches back and forth between the timelines. The voice for each character is distinct, including the unnamed narrator. It’s even distinguished between the different timelines, the voice adapting to each era from historical to contemporary. 

Rachel reviews A Dowry of Blood by S.T. Gibson

A Dowry of Blood by S.T. Gibson

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If you’re a fan of paranormal retellings, historical fiction, and poetic writing, S.T. Gibson’s A Dowry of Blood is the perfect read.

The novel is an innovative and refreshing retelling of Dracula, told from the perspective of one of Dracula’s three brides—infamous in the novel as the licentious, erotic, lust-filled women who attempt to seduce Johnathan Harker. A Dowry of Blood begins centuries before the events of Stoker’s original novel with Constanta, a Romany woman saved from death by a dark and mysterious stranger who compels her from the beginning. Alternately his bride and daughter, Dracula transforms Constanta, and they embark on a centuries-long life together full of love, pain, treachery, and devotion in equal measure. As the centuries wear on, two other consorts join Constanta, and the controlling and confining machinations of her beloved reach a breaking point.

Gibson’s text is a fantastic addition to the canon of Dracula adaptations. In (re)characterizing Dracula’s brides, the novel seems to also consider the famous iterations of the characters in the original novel and in film (Coppola 1992, Sommers 2004, for example). Moving beyond the events of Stoker’s novel, Gibson’s novel gives a voice to Dracula’s brides as more than sex/blood-obsessed monsters while still maintaining the quintessentially dark, gothic, and horrific aspects of a good vampire novel alongside the telltale eroticism that drives many vampire fictions. It was compelling to see the three brides as more than one moving body of vampiric desire filtered through a male perspective. Instead, each character is distinct and complex, with wants and desires controlled by a domineering controller. Another innovation on Gibson’s part is the transformation of one of the brides into a male figure—Alexi—which complicates and queers the novel in a compelling way.

One startlingly refreshing aspect of Gibson’s text is her portrait of domestic abuse through emotional, physical, sexual, and psychological manipulation. Complex and various over centuries, the story is as much about the oppressed triumphing over the oppressor as it is about vampires and supernatural horror. While Gibson keeps the character of Dracula distant from the text—aloof, cold, and threatening—she recounts the histories and secret strengths of his three brides, centering them within the narrative.

Gibson’s novel emphasises and elaborates on the queerness inherent in Stoker’s original novel. The queer dynamic between the four central characters is crucial in establishing the complex relationship each of them has with Dracula and with one another.

Please visit S.T. Gibson on Twitter and put A Dowry of Blood on your TBR on Goodreads.

Content Warnings: Trauma, emotional abuse, verbal abuse, physical abuse, sexual manipulation.  

Rachel Friars is a writer and academic living in Canada, dividing her time between Ontario and New Brunswick. When she’s not writing short fiction, she’s reading every lesbian novel she can find. Rachel holds two degrees in English literature and is currently pursuing a PhD in nineteenth-century lesbian literature and history.

You can find Rachel on Twitter @RachelMFriars or on Goodreads @Rachel Friars.

Rachel reviews Plain Bad Heroines by Emily M. Danforth

Plain Bad Heroines by Emily M. Danforth

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A dark, haunting, gothic novel, Emily M. Danforth’s Plain Bad Heroines (2020) is a delightfully dark queer book with a complex and fun premise that was right up my alley.

Set across two separate timelines, the first begins in 1902 Rhode Island at the Brookhants School for Girls. Two students, Flo and Clara, are known to be uncommonly devoted to one another and to a writer named Many MacLane and her book. The two girls form The Plain Bad Heroine Society based around their love of each other and the book. But when their secret meeting place in the school’s apple orchard becomes the scene of their violent and startling deaths, a series of bizarre events begin to take place on the campus—haunting the students and staff until the school shutters for good five years later.

The second timeline finds us in the present day. Merritt Emmons publishes a hugely popular book about the darkly queer history of Brookhants School. The book inspires a film adaptation that introduces the reader to a cast of main characters. These three heroines will return to Brookhants for filming, but as they do, “past and present become grimly entangled” and the haunting forces that terrorized the Brookhants Heroines from a century ago may not be quite finished with their curse.

A layered story with multiple timelines and black and white illustrations by Sara Lautman, Plain Bad Heroines is an example of the neo-Gothic at its best. I absolutely loved this book. I ordered a copy as soon as a heard about its release, and I was not disappointed. Dark and Gothic, with characters that are thoroughly compelling and mysterious. The book alternates timelines and perspectives across chapters, but I never felt lost or confused. The narrative of Danforth’s novel is a complex one—it has many clues, red herrings, and conspiracies that constantly kept me guessing. And even then, I couldn’t guess the ending. I loved Danforth’s use of symbol and metaphor, and her investment in making both of her timelines as real and vivid as possible. In addition, the narration—with a cheeky narrator who addresses the reader and draws attention to the ‘storied’ nature of the novel—was fun and exciting and helped to organize the book’s complex plot.

The best part of Plain Bad Heroines is that nearly everyone is queer. Queer people abound across both timelines and I was particularly interested in Danforth’s portrayal of the queer women. Not only does Danforth link her modern and historic queer characters with each other through their shared and haunting experiences, but she also imagines a version of queer life in the early twentieth century that has an element of realism amongst her haunting and supernatural plot.

I could not recommend this book enough for those who love queer historical fiction, horror and the Gothic, or a good and dark mystery!

Please visit Emily M. Danforth on Twitter or on her website, and put Plain Bad Heroines on your TBR on Goodreads.

Content Warnings: Violence, physical and verbal abuse, homophobia

Rachel Friars is a writer and academic living in Canada, dividing her time between Ontario and New Brunswick. When she’s not writing short fiction, she’s reading every lesbian novel she can find. Rachel holds two degrees in English literature and is currently pursuing a PhD in nineteenth-century lesbian literature and history.

You can find Rachel on Twitter @RachelMFriars or on Goodreads @Rachel Friars.

Kayla Bell reviews Unspeakable: A Queer Gothic Anthology edited by Celine Frohn

Unspeakable: A Queer Gothic Anthology edited by Celine Frohn

Gothic fiction is my jam. I love the slowly building sense of dread that is the cornerstone of the genre. If I could have the job of any fictional character, it would be the creepy groundskeeper of the haunted manors in gothic ghost stories. I also (as you can imagine from me writing for this website) love queer stories. Looking back, my favorite horror and gothic books have consistently been those with queer elements. So as soon as I saw Unspeakable on the list of books up for review, I knew I had to read it. I’m happy to say that this short story collection lived up to my high expectations.

While all of the stories include gothic elements, they are all very different. The stories run the gamut from classic, historical gothic horror to modern-day shapeshifter romance. This collection is stronger for the diversity in storytelling that it holds. I loved the ones that had explicit sapphic relationships, but the ones without them were just as good, too.

One feature that really stood out to me in this collection was the setting. As I said, I love classic gothic stories. So every story that took place in an old, desolate home overlooking a grey sea made me very happy. The stories that I thought used setting to their advantage the most were “Hearteater” by Eliza Temple and “Quicksilver Prometheus” by Katie Young. Both of these stories used the grey, dark classic gothic setting to show the inner minds of their main characters. “Quicksilver Prometheus” also stood out to me because of its brilliant use of historical elements. That was definitely one of the best stories in the collection for me. Other stories that had amazing settings were “Moonlight” by Ally Kolzow and “The Moon in Glass” by Jude Reid.

Three of the other stories also stood out to me as being exceptionally good. The first was “Laguna and the Engkanto” by Katalina Watt. This sea creature horror story incorporated the culture of the Philippines to create a truly unique and horrifying tale. Watt’s writing was also featured in another one of my favorite recent anthologies, Haunted Voices. I will definitely be seeking out more of her work.

“Homesick” by Sam Hirst almost made me cry. I wasn’t expecting such a profound and beautiful love story between two ghosts. In my opinion, it also had the best opening line in the book (and maybe of any short story I’ve ever read). This one was simple, but incredibly beautiful. It will certainly stick with me.

Finally, “The White Door” by Lindsay King-Miller turned a classic story on its head and proved that gothic stories can absolutely work in a fantasy setting. I was impressed by how well this one drew on standards set by classic works in order to create something completely unique. It also had an amazing and very chilling ending.

Overall, I really loved this anthology. I can see myself rereading it at night in October, waiting for something spooky (and potentially even sapphic) to happen.

Kayla Bell is the pen name of an author, reviewer, and lover of science fiction, fantasy, and horror. You can catch up with her on Instagram @Kreadseverything for more book reviews and updates about her writing.

Where to Start Reading Lesbian Gothic

Where to Start Reading Lesbian Gothic

Haunted mansions! Thunder and lightning! Brooding antiheroes! Women running down corridors wearing long white gowns! I love the tropes of Gothic literature: they’re campy, they’re spooky, they’re sexy. What more could you possibly want from a genre? Well, sapphic romance, obviously.

As it happens, the Gothic is a pretty gay genre to begin with. Its themes of buried secrets, psychological crisis, and the instability of social boundaries all lend themselves perfectly to queer narratives. Despite this, I’ve always found it difficult to find recommendations for specifically lesbian and bi women’s Gothic literature online. But, dear reader, you don’t need to share my plight: I’ve done the work for you! Here is a selection of ten great Gothic works with sapphic characters to get you started with the genre…

Carmilla by J. Sheridan Le Fanu,Carmilla by J. Sheridan Le Fanu

A classic of 19th century Gothic literature, Carmilla is one of the earliest examples of vampire fiction. Laura and her father live in Styria in the remote Austrian countryside. When a mysterious carriage crashes outside their castle, they agree to take in one of its passengers, a frail girl named Carmilla. Laura and Carmilla are immediate friends, but as the relationship grows more and more intense, Laura’s health starts to decline and Carmilla’s to improve – almost as if Carmilla is sucking the life out of her host.

 

Rebecca by Daphne du MaurierRebecca by Daphne du Maurier

After a holiday romance with the handsome widower Max de Winter, his new bride returns with him to his country estate. Instead of being made welcome, she soon realises that her new home is ‘haunted’ by Max’s first wife, Rebecca, whose memory is kept alive by the loyal housekeeper Mrs Danvers. As the bride realises that she doesn’t know her husband at all, she starts to wonder just what happened to Rebecca. Although this isn’t an explicitly lesbian novel, it’s a cornerstone of the Lesbian Gothic: besides the heavy implication that Mrs Danvers was in love with Rebecca, the novel is also steeped with du Maurier’s repressed feelings for women – with whom she would have affairs later in her life.

The Gilda Stories by Jewelle GomezThe Gilda Stories by Jewelle Gomez

In 1850s Louisiana, Gilda escapes slavery and finds sanctuary with two brothel-women who also happen to be vampires. After being initiated into eternal life, Gilda spends the next 200 years living through African American history (and future), searching for community and somewhere to call home. With its exploration of race, sexuality and identity, The Gilda Stories was a completely new take on vampire fiction when it was first published in 1991, and it still feels as fresh today.

Fingersmith by Sarah WatersFingersmith by Sarah Waters

Fingersmith is the fantastic Dickensian novel behind both the BBC miniseries of the same name, and Park Chan-wook’s The Handmaiden. Raised amidst thieves in the slums of Victorian London, Sue Trinder is happy to help when Gentleman – a conman and family friend – calls on her with a plan. Sue will pose as a lady’s maid to help Gentleman seduce the wealthy heiress Maud Lilly. After the two are wed and Maud’s inheritance is secure, Gentleman will have her committed to an asylum and split the winnings with Sue. However, Sue grows fond of her new ‘mistress’, and things aren’t as simple as they first seemed.

The Haunting of Hill House by Shirley JacksonThe Haunting of Hill House by Shirley Jackson

Four strangers – one of them the paranormal investigator Dr Montague – plan to stay at a notoriously haunted house, with the aim of discovering empirical proof of the supernatural. The four make friends quickly, and Eleanor, a fragile young woman with a history with poltergeists, is especially drawn to Theodora, who is fresh out of a quarrel with her female ‘roommate’. The group are faced with spooky occurrences that grow ever more sinister as the night progresses, until it seems that the house itself is plotting against them.

The Confessions of Frannie Langton by Sara CollinsThe Confessions of Frannie Langton by Sara Collins

Frannie Langton, a servant and former slave, stands accused of murdering her employers. Although she can’t remember anything that happened on that fateful night, she knows that she couldn’t have done it – because she was in love with her mistress. Slipping between a childhood on a Jamaican sugar plantation and her domestic service in Georgian London, Frannie’s defense is her life story – a story that exposes crimes far greater than a couple of murders, committed in the name of science and empire.

The Animals at Lockwood Manor by Jane HealeyThe Animals at Lockwood Manor by Jane Healey

During the London Blitz, the Natural History Museum’s collection of taxidermied mammals are evacuated to the countryside, along with newly-promoted director Hetty Cartwright. Their new home is the creepy Lockwood Manor, presided over by the bullying Major Lockwood and his troubled daughter Lucy. Lucy walks the house at night and has nightmares of la diablesse – a devil-woman in white that haunts the manor. Despite Hetty’s burgeoning friendship with Lucy, her residence at Lockwood grows impossible when the animals start to move about on their own.

In the Dream House by Carmen Maria MachadoIn the Dream House by Carmen Maria Machado

Studying at the Iowa writers’ school in her late 20s, Carmen Maria Machado met ‘the woman in the dream house’ – a petite blonde Harvard grad living in a cabin in Bloomington, Indiana. What began as a passionate relationship turned sour when the woman became psychologically and physically abusive, and the ‘dream house’ became a nightmare setting. Machado recounts her own experience while also examining the history and study of abusive romantic relationships between women, in a genre-defying work that blends memoir, gothic literature, academic study, and short stories.

The Wicked Cometh by Laura CarlinThe Wicked Cometh by Laura Carlin

Against a backdrop of Georgian London, where the city’s poor inhabitants can disappear with no questions asked, Hester White is desperate to escape poverty. When she gets caught under the wheels of Calder Brock’s carriage, she seizes her chance to be taken in by his aristocratic family, including the fierce Rebekah Brock. Rebekah tutors her in the ways of gentility – although she seems interested in more than just Hester’s education. Then Hester receives a note telling her to leave before she gets hurt. Together, Rebekah and Hester begin to uncover a dark web of penny dreadful-worthy mystery and crime with Calder at its centre.

White is for Witching by Helen OyeyemiWhite is for Witching by Helen Oyeyemi

In a vast house on the cliffs of Dover, twins Miranda and Eliot are in mourning for their recently-departed mother. In the wake of the tragedy, Miranda develops the eating disorder pica – where she hungers for inedible substances like chalk, dirt and plastic – and begins to hear the voices of women trapped in the walls of the house. Then one night she vanishes, leaving behind her loved ones, including her girlfriend Ore, her father Luc, and the house itself, to tell the story.

Bee reviews Unspeakable: A Queer Gothic Anthology edited by Celine Frohn

Unspeakable: A Queer Gothic Anthology edited by Celine Frohn

This book had me in two words: queer. Gothic. I have long-held passions in both areas. The gothic is the realm of the outsider, the rejected, the monstrous. It lends itself to queer interpretation–and that is mostly what queer gothic is. Just interpretation. The height of gothic literature was, of course, the 18th and 19th Centuries, beginning with The Castle of Otranto and spidering out into different sub-genres and interpretations right up to the present day. There are queer interpretations of gothic literature, definitely: my favourites include Susan Stryker’s “My Words to Victor Frankenstein above the Village of Chamounix: Performing Transgender Rage,” and Skin Shows by Jack Halberstam. There is obviously The Picture of Dorian Gray, but also the interpretation of The Strange Case of Dr Jekyll and Mr Hyde as being an allegory for the closet, and the ambiguous sexuality of Dracula. The gothic is queer, inescapably. So when I saw Unspeakable: A Queer Gothic Anthology, my true reaction was to say, “oh. Finally.”

The anthology spans identities, each story offering up new characters with new queerness. A large proportion of the stories are about WLW–women who are seduced by vampires, who dance with the ghosts of their murdered wives, who kill their lovers, and fall for monsters from the deep. Sometimes these women are the ones who are monstrous, which is of course, the potential of the gothic. This is the most exciting thing for me, a feeling which is only compounded by the fact that their queerness is not what makes them monstrous. They are given power in their monstrosity.

The contributors to this anthology understand the genre to its core. There was not one story that felt amiss, each with the kind of rich and immersive prose which typifies gothic writing. I was pulled into each chilling tale easily and readily, the language acting as a kind of through-line for this diverse collection of stories. Even though each is by a different author, with a different approach to the genre, they read as part of a whole. The anthology is cohesive and interconnected, with some stories sharing similar themes and imagery in a pleasing way–the same hallmarks of the genre, used to different effect.

There are all kinds of queer women in these pages. Some of my favourites were the stories that explored the idea of a woman out of time–a woman with an identity which we might now refer to as butch, but constrained by Victorian sensibilities. There is something eminently enjoyable about a rakish and debonair Byronic hero in cravat and breeches, but oh wait! She’s a woman, and she’s here to seduce your wives. I enjoyed the troubled Kat in “Hearteater” by Eliza Temple, who has exactly the right amount of tortured soul.

And on that point–seduction. I haven’t yet mentioned one of the drawcards of the gothic, that being the simmering eroticism of all things dark and disturbed. There’s a reason why we find vampires so sexy. The authors of Unspeakable haven’t forgotten this, either. A number of the stories are filled with just the right amount of sexual tension and saucy contact. It is sometimes devilish, and always welcome. “Laguna and the Engkanto” by Katalina Watt stands out: a story with a folk tale feel which absolutely sizzles.

The stories that don’t have that note of the erotic are filled with another gothic (and queer) emotion: yearning. The sense of something lost, of a need to pierce the veil, to find some fulfilment and compromise your own goodness to do so… these are all gothic elements that are woven through the stories of Unspeakable. Remember that while the gothic is horror, it is also romance: it is heightened emotions, a deep plunge into the psyche and the human condition. “Moonlight” by Ally Kölzow is one such narrative, which left me with such a deep sadness that I am still thinking about it, days later.

It bears mentioning that a lot of these stories rely on tropes. These are, of course, conventions of the genre, and some might call them clichés. I think it is important to be reminded, however, that applying these “clichés” to queer narratives is something completely new. It is a reinvention, and it is inspired. Even though some of the stories are familiar and predictable, the expected outcome is the desired outcome: we deserve our turn with these stories, and they are all the more enjoyable for it.

This anthology is a powerhouse of an introduction to the work of some very exciting writers. Their dexterity within the genre is admirable, and made this collection an utter pleasure to read. For lovers of the gothic, it is an absolute delight. If you are unfamiliar with the genre, it is a perfect introduction (although be prepared for any further forays to be a lot more subtextual on the queer front). It was so soothing for me to be able to read within a genre so dear to my heart, and to see it full of queerness. At the risk of sounding over-the-top and extremely sappy, my devoted thanks go out to Celine Frohn and the contributing authors. They have created something truly special, which feeds the monster in us all

Carmella reviews The Confessions of Frannie Langton by Sara Collins

The Confessions of Frannie Langton by Sara Collins

“How can I confess what I don’t believe I’ve done?”

It’s 1826, and Frannie Langton is standing trial for the murder of her employers, the Benhams. She can’t remember a thing from that night, but she’s certain she didn’t do it – because she was in love with Mrs Benham. As she awaits sentencing, Frannie makes use of her time in Newgate prison to write her confessions.

The Confessions of Frannie Langton by Sara Collins is a Gothic murder mystery/romance reminiscent of Alias Grace or The Paying Guests, by way of Beloved and Wide Sargasso Sea. It takes us from a Jamaican plantation, where Frannie – a mixed-race house slave – is taught to read by her bored mistress, to a London townhouse, where she works as a maid for the beautiful Marguerite Benham. As Frannie writes of her emotionally-charged affair with Marguerite, she also reveals the traumatic secrets of her childhood, unravelling the two time periods side by side.

The concept alone would have been enough to win me over: it meets all my literary tick-boxes, and how often do you get to see a Black lesbian protagonist in mainstream historical fiction? (As Collins says, she was inspired to write about Frannie after questioning “why hadn’t a Black woman been the star of her own Gothic romance?”)

But alongside that, Sara Collins is a fantastic character writer. She crafts a strong and distinctive voice for Frannie, who makes a compellingly unreliable narrator, veering from intimate truth-telling to coy amnesia so you’re never sure if you should trust her. It takes a confident author to pull off a ‘whodunit’ where the main character is both the lead suspect and the lead detective, but Collins sustains the mystery to the end.

It’s important with historical fiction to transport your readers into the time period, and this is another place where Collins is adept. Her descriptions of life on a plantation and in 19th century London are beautifully vivid. They’re also clearly the product of careful research, with events and characters like Olaudah ‘Laddie’ Cambridge (a former servant of the Benhams now turned celebrity boxer) inspired by true history – in this case Bill Richmond. Although topics of racial, sexual and gender identity are often considered a modern preoccupation, Collins embeds them seamlessly into her historical setting, where they seem perfectly at home.

The Confessions of Frannie Langton is an intense, twisty read, which would appeal to anyone interested in Gothic romance, historical fiction, or a good mystery. I would give one word of caution, which is that the novel contains multiple depictions of gore and violence. It’s not for the faint-hearted (or weak-stomached) – but if you’re a fan of the penny dreadful genre then it’s perfect for you!

CONTENT WARNINGS: Slavery, racism, miscarriage, rape mentions, murder, violence