I’ve loved Gothic fiction since I was a teen, though back then, I didn’t know it was Gothic. I just liked the creepiness, the often-isolated heroine, and the things-aren’t-what-they-seem murkiness of the stories. One of my first reads was Jane Eyre, which has remained a favorite. Though I didn’t like history in school (too much memorization!), I read several historical fiction books from different eras that fascinated me. These things, combined with another genre favorite—mystery/thriller, led to my first book. It turns out that all those things I’d gravitated to in my decades of reading became the things I most wanted to write about - mystery/thriller historical fiction with elements of Gothic.
This book, quite frankly, blew my mind. That women in times past were forced into the role of sin eaters to take on the transgressions of the dying so the latter could ascend to heaven was disturbing, to say the least.
I felt for May, a fourteen-year-old girl who is newly sentenced to the fate of a sin eater—a job in which she is to remain poor, mute, and bear the ostracization of her community. But what kept me turning pages is the chilling mystery at its center. In the alternate Elizabethan court in which the book is set, someone is poisoning those close to the Queen and hiding a long-buried secret. May must stay one step ahead of the killer if she’s to navigate a corrupt, vicious court and a fiend who wants her dead.
An old adage says there are really only two stories: a man goes on a voyage, and a stranger arrives in town. This is the third: a woman breaks the rules . . .
Can you uncover the truth when you're forbidden from speaking it?
A Sin Eater's duty is a necessary evil: she hears the confessions of the dying, eats their sins as a funeral rite. Stained by these sins, she is shunned and silenced, doomed to live in exile at the edge of town.
Recently orphaned May Owens is just fourteen, only concerned with where her next meal…
Nobody does characters like Jess Kidd. Every person in this story is bizarre—a monster, misfit, or malefactor—yet not one feels contrived. I adored Bridie Devine, a small, rotund, pipe-smoking detective who begins to see the same ghost everywhere she goes.
Bridie’s quarry is a strange girl who’s been kidnapped and might (depending on who you ask) have supernatural powers or be a “lovely grotesque” who’s caught the eye of collectors. I fell in love with Kidd’s imaginative Victorian London, where nothing is as it seems, and evil lurks around every bend.
London, 1863. Bridie Devine, the finest female detective of her age, is taking on her toughest case yet. Reeling from her last job and with her reputation in tatters, a remarkable puzzle has come her way. Christabel Berwick has been kidnapped. But Christabel is no ordinary child. She is not supposed to exist.
As Bridie fights to recover the stolen child she enters a world of fanatical anatomists, crooked surgeons and mercenary showmen. Anomalies are in fashion, curiosities are the thing, and fortunes are won and lost in the name of entertainment. The public love a spectacle and Christabel may…
When I first read the back of this book I thought, "How frightening can wooden, life-sized figures tucked away in a remote mansion be?" Answer: A lot.
When the book opens, Elsie Bainbridge’s husband has died (mysteriously). When she discovers the strange totems the servants are terrified of locked away in the attic, something is definitely…not right. Once the figures’ eyes appear to move and Elsie finds them in different places in the house as if they move of their own accord, her piece of mine starts to unravel. And so did mine.
"[An] extraordinary, memorable and truly haunting book." -Jojo Moyes, #1 New York Times bestselling author
Laura Purcell's THE SHAPE OF DARKNESS is now out from Penguin!
Some doors are locked for a reason.
When Elsie married handsome young heir Rupert Bainbridge, she believed she was destined for a life of luxury. But pregnant and widowed just weeks after their wedding, with her new servants resentful and the local villagers actively hostile, Elsie has only her late husband's awkward cousin for company. Or so she thinks. Inside her new home lies a locked door, beyond which is a painted wooden figure-a…
This book checked a lot of boxes for me from the jump: a decrepit infirmary, the grisliness of 19th-century medicine, a soot-filled London that seethes with filth, secrets, and evil.
This book is the first in a series featuring one of the best protagonists I’ve encountered: Jem Flockhart, an intelligent young woman who must disguise herself as a boy to continue her work at St. Saviour’s Infirmary as an apothecary. The mystery at its heart was every bit as Gothic as I’d hoped.
Ramshackle and crumbling, trapped in the past and resisting the future, St. Saviour's Infirmary awaits demolition. Within its stinking wards and cramped corridors, the doctors bicker and backstab. Ambition, jealousy, and loathing seethe beneath the veneer of professional courtesy. Always an outsider, and with a secret of her own to hide, apothecary Jem Flockhart observes everything but says nothing.
And then six tiny coffins are uncovered, inside each a handful of dried flowers and a bundle of mouldering rags. When Jem comes across these strange relics hidden inside the infirmary's old chapel, her quest to understand their meaning prises open…
Macneal is a go-to for me when it comes to grim reads set in the Victorian era. I found her writing so superb and her grasp of Victorian London and the Pre-Raphaelite Brotherhood so enthralling, it was hard for me to believe The Doll Factory was her debut.
The book is about art and collecting, but the obsession of the book’s villain is what makes this beating heart of a story thrum.
Liverpool, England 1889: A woman is accused of killing her husband, but is she guilty? In the shadowy streets, the air is thick with secrets, and the line between guilt and innocence blurs. Twenty-six-year-old Constance Sullivan is brought to trial and charged with poisoning her husband, William. But William was no ordinary victim…
As Constance’s barrister fights to prove her innocence, a sinister web of deception unravels, exposing the dark underbelly of their seemingly idyllic marriage. One by one, witnesses emerge with incriminating testimony. For many, the widow’s guilt seems clear. But is someone holding the key to the whole truth? Inspired by a true case, The Arsenic Eater’s Wife will hold the reader spellbound until the final, heart-stopping revelation.
My book is fantastical historical fiction about two characters who're wrestling with the monstrosity of their grief.
It takes you into London high society, where Ambrose tries to forget about how much he misses Bennett and how much he dreads becoming as cold as their Grandfather. It takes you to the family's country manor house, where Mattie isolates and old ghosts start to come out of the woodwork.
It's a story about loss and depression; it's a story about friends who don't let you walk through the valley of death alone.
Ambrose Bancroft returns to London society with his younger sister, hoping they'll leave ghosts of memory behind. They have only each other left. While Ambrose attempts to draw Mattie out, dragging her to balls and threatening to seek suitors for her, his sister recoils from his meddling. Finally, when Ambrose compels her to attend art class before she's ready, Mattie paints something horrific enough to banish them from society in public disgrace.
At Linwood Manor, Mattie and Ambrose aren't as alone as they think. Taking advantage of Mattie's desperate need to find freedom, a vanishing room lures Ambrose's sister into…
