The Night of the Wolf by Frank Belknap Long

Originally published in 1972 by Popular Library

American author born and died in New York. 1910-1994.

Here is the video version. Below is the written review.

The Night of the Wolf is a werewolf story told in the first-person narrative from the perspective of John, an archaeologist, house guest and colleague of Professor Margrave. He is also soon to be his son-in-law as he is dating Margrave’s daughter Doris.

One morning upon visiting Margrave in his home office he discovers his head bashed in. In glorious gory detail. My god, listen to these Cannibal Corpse-esque descriptions Frank is throwing down:

“The entire left side of his head- the side not visible from the door- had been crushed in such hideous a way that the bulge of his forehead had become welded to his cheekbones in a continuous ridge of shattered bone that extended to the tip of his jaw. The flesh of his cheek was shredded as if a buzzsaw had passed down over it, leaving thin flaps of skin dangling from a dozen separate splinters of bone that turned what was left of his features into a horrible red-white disfigurement.”

This is on the second page! I’m very intrigued now as I was mistakenly under the impression that the Frankenstein/Dracula horror series were aimed at young adults.

John finds daughter Dorris, gives her the bad news and puts her to bed while he calls for the doctor. He then goes out to the pool to tell the other house guests, married couple Dan and Helen, the bad news. But before he can get it out Helen has just dived in the pool and isn’t coming up. Dan dives in to save her. Something was tangled around her legs. Straps of material attached to a broken staff with a wolf’s head attached. Obviously, the murder weapon, John thinks.

The doctor shows up pale and frightened. He passed a body with its throat ripped out on the road here. Inside the house we find a splatter fest in the kitchen of what was once the house help. Three more dead bodies. What is causing this carnage and why?

After the police leave it turns out Dorris might have some answers. One day not too long ago a strange man came to visit dad. He was “Oriental” she says. Frustrated with the vague detail John asks, “Chinese??” No. Some kind of Easterner. Ok. The man’s name was Ruschna. He met Margrave in Bulgaria. While eavesdropping Dorris also picked up that the man was accusing Margrave of stealing some artifact and that if he didn’t give it back he was as good as dead. Margrave’s house would burn and him and his daughter would die. Margrave states he doesn’t have the item, it was lost in the shipment. Ruschna leaves in anger.

Exciting stuff. We got what looks to be some werewolf action, some mystery, and some absolute bloodshed. Unfortunately, the pacing grinds down to a dreamlike slow punch here even though the plot doesn’t. I have never read anything like this before where I was so intrigued with what was going on but so bored at the same time.

Even though this was written in 1972 the style is early 20th century. The dialogue is frustrating and awkward. Everything is a casual conversation no matter what is happening. At one point a character has been kidnapped. John and Dan are running out the door to the car in pursuit and stop to discuss the need for urgency. They STOP and discuss the need for urgency. John says to Dan, even if you fall down and scrape your knee don’t lie there, get up and keep moving.

There is a part where John is remembering this vague backstory of an archeological dig in Bulgaria where he sees a wolfman shadow in a cave. He sits down to draw it and it takes him five fucking pages to circle around the point. There is all this philosophy and thoughts on what Rembrandt thinks before he sets down to create art and the whole time you are screaming at the pages, JUST DRAW THE FUCKING WEREWOLF ALREADY.

Speaking of backstory, there isn’t any. Or they don’t go into any more detail than that. John and Margrave digging in a cave in Bulgaria and apparently Ruschna was there even though John doesn’t remember him. And that’s it. No mention of what they found. The wolf staff?? Why Margrave doesn’t mention it to John. What the staff means to Ruschna. Why the werewolf continues to attack even though the staff has been found, broken and thrown in a pool and Margrave is dead. Who threw it in the pool? There are a couple scenes where the werewolf is a black cloud of smoke that appears in the house and can psychokinetically start fires. What? Spoiler alert:

After the werewolf is killed with a silver bullet he turns into a dwarf. Ruschna the normal size man at the beginning is now a dwarf.

I usually don’t complain about stuff adding up if the story is enjoyable but this is a muddled mushy mess. It’s raining all day but when they go out to the woods to track the werewolf they notice footprints in the dust and the dry leaves. An hour ago it was raining and now the ground is dry it’s dusty? You take this kind of stuff and add to it the inability to go from point A to B in a straight line and the strange inactive dialogue and it’s a slog.

Some positives though because this Weird Tales royalty we are talking about. I can’t completely slag him.

The gore is poetry. The plot, though filled with many holes, is fun and pulpy. When the action happens it’s on point, just ignore the meandering discourse.

The man lived to be 93 years old. This was written when he was 71 so I wouldn’t let this deter me from reading any of his earlier output. Unfortunately, around this time his career was trailing off, and he ended up living in pure poverty throughout his remaining years. I can imagine as the 70s came in and there was a new style of horror that was prevalent. Belknap’s style probably seemed very antiquated at the time and not yet old enough to have the classic appeal that it has these days.

The Night Creature by Brian Ball

First published by NEL in 1974 as The Venomous Serpent

The Night Creature, which is what I’ll call it since I read the American edition and I’m a ‘Merican, is a 70s British folk horror novel in league with an Amicus or Hammer film. It’s a slow burn. It’s cheeky at the beginning. When I started it and the first-person narrative started spitting lighthearted pseudo-humorous quips I groaned and almost quit immediately. I shut the book and looked over the cover art. I re-read the back synopsis. No, there is no way this is a comedy novel. I read on and am glad I did.

Video review here. Written review below.

Sally and Andy are young lovers who were attending college back in the city. After dating for four short months they quit school and moved out to the rural area of Derbyshire. They rent a barn to live in/open a shop to sell tourist items like ceramic gnomes, discarded junk sold as antiques and paintings that Sally made herself.

One day Sally finds a monumental brass in a collapsed church located in the nearby ghost town of Stymead. What is a monumental brass you ask? Good question my fellow Americans. A monumental brass is an engraved sheet of brass laid into pavement. They were very popular in England though are located in other European nations also. People would make rubbings of the etching and sell them for big bucks.

So, that is Sally’s plan. She makes a rubbing of the brass and brings it home to Andy. The rubbing features a man and a woman but the woman’s face has been carved out. At each of their feet lies a pet. At the man’s feet is a lion and at the woman’s feet is a dog-like creature.

One night Andy wakes up after a horrendous nightmare. While looking at the rubbing now hanging on his wall, illuminated by moonlight, he thinks he sees movement in the woman’s dress and her pet dog. He’s a little freaked but heads back to bed. In the morning, he sees that one of his two kittens is dead. It looks as if a wild creature snuck into the house and attacked it. He thinks back on last night and the rubbing. While inspecting it he finds a bit of blood on the corner. Odd.

Andy is now freaking out and surprisingly enough Sally sort of believes him about the rubbing. They venture back to Stymead to inspect the brass and the church. The few locals that live there eye them slyly from behind their curtains.

This book is loaded with folksy atmospheric descriptions of rural England. After having blundered that intro with lite comedy I was pleasantly surprised to see it head off in this direction. This is heyday 70s Amicus and Hammer horror film era and this book reads just like one of those movies.

Once again Andy is plagued with a nightmare and the scene from the previous night is played out again only this time amped up. The moonlight is lighting up the whole room. The dust floating in the light gives it a dreamlike feel. The dog is now clearly moving but its legs have become snakes. It slithers up the woman’s body to her heart, where she reaches out and embraces it.

I read this right before falling asleep and had dreams of being out in the woods with snakes and small creatures lurking in the dark. It really creeped me out.

This all happens within four chapters and to tell more detail would spoil it.

The couple investigates the history behind the brass further. Their opinions about the rubbing bring tension to the relationship though at times Sally also seems aloof to the situation. What is going on with her? Who are the people pictured in the brass? Are these things that Andy is seeing real?

Like I said this is radiating classic gothic folk horror atmosphere. The barn they convert into their home was built in 1710. All of the roads are thin and winding country roads. It’s raining and overcast in the day. At night the moon is full and bright in the sky, shining through open windows. You can almost smell the earthy air and feel the cool breeze blowing in.

The young characters of Sally and Andy are written perfectly as happy-go-lucky youngsters with not much life experience. They aren’t a bitter old arguing couple. It’s pleasant to spend time with them. Their motives and actions feel exactly what a twenty-year-old couple would do. The characters from the two towns they interact with are colorful in their stereotypical characterizations. The scowling unwelcoming townie. The poor and shabby, superstitious rural yokel interacting with the college educated city youngsters is always an enjoyable trope. A local constable warns Andy, no one would venture to Stymead on May Day. Don’t you know it’s Walpurgis Night?

The evil is mysterious and ancient. It builds its attack slowly from the shadows, each encounter one step closer to the inevitable doom. It’s not groundbreaking but it is classic pulp horror. Subtle and slow with ever building tension. Nothing too graphic though there is some bloodshed. This is one to read at night in the dark with only a book light on.

Gang Rumble by Edward S Aarons

Originally published in 1958 by Avon under the pseudonym Edward Ronns

Edward S Aarons was from the mean streets of Philadelphia, born in 1916 and died in 1975. He graduated from Columbia University and was a World War 2 veteran. He wrote crime and detective stories but is most well-known for his long running, 42 entry espionage series, Assignment.

I read this beautiful reprint from Stark House Press. Available for purchase right here.

Video version here. Text version below.

The basic premise. Ne’er-do-well, Johnny Broom, warlord of the Philadelphia juvenile delinquent street gang, the Lancers, has dreams of being a big-time hood. He gets his first big assignment from local gangster, Comber, to help heist the very warehouse where his goody-two-shoe older brother Pete works security. Johnny enlists the help of his fellow Lancer, Stitch, and Mike, a sociopathic rich kid who is new in town. Things go horribly wrong during the heist and now Johnny, Stitch and Mike are on the run, being hunted down like dogs by a violent alcoholic cop named Vallera.

If you’ve ever read one of Aarons Assignment Series books you’ll know the man is a master of delivering exciting and tense situations. You never know what’s going to happen next and this book is no different but instead of being whisked off to an exotic foreign locale you are transported back to the 1950s slums of Philadelphia. A black and white world of greaser juvenile delinquents, violent drunk cops, hooch and smack, petty crime, socials, poodle skirts and the mean streets of the ghetto. It’s a bleak world with nary a pinhole of hope.

Aarons sets us up gently. 17 year old, Johnny Broom is Warlord of the JD gang the Lancers. He is sitting on his roof contemplating the world. His dreams. His options. His place in the world and what the world has given him. It makes him bitter. His parents are dead. He lives on North Seventh street, which everyone calls the Jungle, with his older brother Pete. To young Johnny Broom, Pete is a sucker. He has a shit job working security on the overnight shift at a warehouse downtown. Pete is always trying to get Johnny to quit hanging around the gang and get a job but Johnny aint having it. He’s going to be somebody. And what Johnny wants to be is a gangster. Johnny is our protagonist and his own antagonist.

He recently made a deal with local “legitimate businessman” hood named Comber. Comber wants Johnny to exploit his relationship with his brother to let them in the warehouse so Comber’s crew can rob the place. Johnny has no problem using his brother or double crossing his own gang, the Lancers to come up in the ranks of crimedom. He enlists one other member of the Lancers to help him out; Stitch, a short, fat, smelly, red headed, yes man. As for the other members of the Lancers, he’s set them up to rumble with the neighbor JD street gang, the Violets to use as a distraction so the fuzz won’t interrupt the robbery. Johnny is their leader so what he says goes but there is some question as to why they are randomly hitting the Violets at their bowling alley HQ.

Johnny figures he needs one more man for the robbery crew so enlists new kid in town, Mike. Mike lives in the rich part of town. It’s never really said how the two meet so consider that an unplugged plot hole. Mike is a sociopath. A serial killer in his infant stages. We get a fun little scene with the older housekeeper woman who he is sleeping with. He psychologically belittles her and reminisces about the joy he felt the day that he dumped out her beloved fishbowl while she was in the bathroom, so he could watch the fish slowly suffocate, and then his favorite part of the moment was seeing how upset she was about the fish being dead.

Johnny and his little crew are being tracked by psychotic alcoholic cop Vallera who thinks the only way to deal with all of the JD gangs is to crack their skulls open. He literally wants to kill them. He has a more rational partner named Lew who he is not a fan of because Lew is a big pussy who doesn’t want to murder these kids. Also, Lew is dating Vallera’s angelic daughter Rose and he doesn’t like that either. Not because he thinks Lew isn’t good enough for Rose but because if Rose marries Lew than Vallera will be left all alone to his sad pathetic drunk life.

As you can see, like most JD books this thing is bleak. The whole story takes place in real time. From the afternoon sitting on the rooftop until the next morning. Nothing goes Johnny’s way and now he’s on the run with a hefty prison sentence hanging over his head. In tow on the lamb is the crew he put together helping him sink further into the hole; his junkie girlfriend, his useless yes man and worst off all is Mike always encouraging the worst, pushing him even further out on the plank while throwing chum to the sharks with a smile on his face.

It’s kind of an odd comparison but this reminds me of the movie Do the Right Thing. It’s the hottest night of the summer. Each chapter jumps from independent scenarios featuring the characters involved and each one is a step towards what you know will initially be the climax explosion. It’s exciting to have the story built this way.

Aarons writing is top notch of course and this may be the most expertly written JD book I’ve ever read. There is a scene where Vallera and Lew are sitting outside the bowling alley waiting for the rumble. They have a ride along guest of a do-gooder social worker in the back seat who wants to try and talk to the kids, to calm the situation. Vallera nastily retorts that the only thing these kids need is to be beaten into submission. Lew is silently listening to all of this, wishing to be anywhere else. Aarons writes, "He thought he heard the distant rolling of thunder but it could have been only the heavy, heated pulse of angry blood in his ears." Which is just an absolutely colorful foreshadowing metaphor intertwined in the angry reaction of the moment. The storm is coming, literally and figuratively.

I think Aarons has some interesting takes on why some people resort to desperate measures. Johnny lives in a neighborhood with little to no hope of escape. Even if he plays it straight like his brother he would only break even. Mike on the other hand comes from a well-to-do family. His criminal activity is psychological. The violent cop, Vallera lives across the street from Johnny. He’s in the slums too. His reaction to violence is more violence. On the other hand you have the upper-class social crusader who thinks everything can be handled with conversation and understanding. And what I really enjoy is both are right and both are wrong. Life is complex and this novel is a vortex decimating everyone involved. This book is literature from the gutter and the best JD novel I’ve ever read.

Shambleau by C.L. Moore

This story first appeared in the November 1933 issue of Weird Tales and was Catherine Lucille Moore’s first paying story. She went by the moniker C.L. Moore to hide her author side hustle from her day-time banker job. It also might have had to with the fact that she wrote the story there. In order to stay busy during a lull she was practicing her typing speed. From memory she started typing the poem, The Haystack in the Flood. After a typo stating that there was a red running figure, she was so amused by the visual that she asked herself, why was the woman running and who was she running from. And with that she dove right in to the opening line of Shambleau.

Written review below. Video review here:

Weird Tales editor, Farnsworth Wright kept a tally on which stories were most popular. Shambleau was the second most popular story to ever be published in Weird Tales. The first being A Merritt’s “The Woman of the Wood.” – note to self. Find that story. Third was The Outsider by H.P. Lovecraft.

Here is what our man H.P. had to say about Shambleau:

Shambleau is great stuff, too. It begins magnificently, on just the right note of terror, and with black intimations of the unknown. The subtle evil of the Entity, as suggested by the unexplained horror of the people, is extremely powerful—and the description of the Thing itself when unmasked is no letdown. Like “The House of the Worm”, it has real atmosphere and tension—rare thing amidst the pulp traditions of brisk, cheerful, staccato prose and lifeless stock characters and images. The one major fault is the conventional interplanetary setting. That weakens and dilutes the effect of both by introducing a parallel or rival wonder and by removing it from reality. Of course, a very remote setting had to be chosen for so unknown marvel—but some place like India, Africa, or the Amazon jungle might have been used…with the horror made more local. I trust your revisions may make Mrs. Moore’s second story as striking and interesting as this one.

—H. P. Lovecraft to Farnsworth Wright, 21 Nov 1933, Lovecraft Annual 8.38-39

And now that you’ve had a master’s review, here is a novice review:

The basic premise: Interplanetary smuggler bandit Northwest Smith is kicking around a small Earth colony on Mars waiting for his connection to arrive. The cries of an angry mob yelling Shambleau pursue a young woman running for her life. Though he is no crusader, he feels for the girl and decides to step in. The mob, angry and confused as to why he would want to protect a Shambleau, eventually dispersed. The girl is shapely and attractive with brown skin, cat eyes, small sharp teeth and what appears to be red hair under her turban. She doesn’t really speak any languages, Smith knows so when he asks her why the mob was after her there is no reply. Northwest decides it’s too dangerous for her on the streets and takes her back to his hotel room. He leaves her there while he goes out to conduct business.

He comes back drunk and surprised to still see her. In his drunken state he revaluates the situation and her banging body in spite of those weird cat eyes. She is flirty. He goes in for the kiss and is simultaneously turned and completely repulsed. He shoves her away, throws some blankets on the floor and tells her, that’s where she’ll be sleeping.

Something is odd about the girl. Why were those town people chasing her? He is starting to doubt his decision in inviting this girl back to his room. She sits in the darkness. Never eats. Eye’s him strangely. Yet, he doesn’t kick her out. Who or what is this strange woman?

And that’s the set-up.

H.P. wasn’t kidding when he commented on the atmosphere and tension. First off it doesn’t feel like a science fiction story. This is horror story straight to the bone. I read that when she first envisioned the character Northwest Smith he was more of a Western character, and that is what this story feels like in atmosphere. Yes, there are Venusians, and we’re on Mars but it has a western flavor to it. Northwest, an infamous smuggler with questionable morality, all dressed in leather, carries his blaster…eh hem, I mean his heat beam gun, sorry I didn’t mean to insinuate that this is Han Solo because… it is. The more pulp I read the more I see the “inspirations.” But there the Stars Wars ends, and the story becomes an ancient mythic horror story.

The woman is mesmerizing. She’s odd but not creepy at first. She was a victim and Northwest saved her life. What is there to worry about? Moore slowly builds that tension though. This isn’t some monster on the edge of the darkness hunting you. This is something that shouldn’t even be a threat, five feet from your bed. Staring at you when your eyes open in the middle of the night. This story will make you uncomfortable. The ending reminds me of how Karl Kolchak would reflect on the story at the end of every one of his episodes. It is an exposition reflection that hints at the nature of addiction. Having something almost kill you, bring you pleasure and the fortitude to walk away.

Caedmon Records released a spoken word version of Shambleau read by C.L. Moore herself in 1980. They knew what they were doing because they even got paperback cover artist Kelly Freas to paint the cover. It goes for around $25-$35 but there is someone selling a Near Mint for $90.

Hear the record here:

Read Shambleau on the internet archive: Shambleau

Castle Garac by Nicholas Monsarrat

Originally published in 1955

This is the 3rd Pyramid Printing from 1968

Nicholas Monsarrat was a Lieutenant Commander in the Royal Navy. He served in World War 2 and afterward used his seafaring wartime experience to write many books on the subject. In 1955, in the midst of all the high action war thrillers he knocked out this spooky gothic.

Written review below. Video review here:

The basic premise: Thomas Welles is a penniless American writer living abroad in Nice France. He has just finished his first book and sent it off to the publisher, awaiting his paycheck. At the moment though, he doesn’t even have money to eat. While sitting in a café drinking his last dime’s worth of coffee he spots a well-to-do man at another table. The man, whose name is Paul Erhardt, invites him over and buys him a petit pain. He learns of Thomas’ plight and offers him a job to be his personal secretary.

Thomas is then introduced to the man’s wife Anna. Anna is flirty. Tom doesn’t want to blow this new job, so he denies her advances. Later Anna tells her husband Paul that she wants to bang Tom. Paul is like, as you wish, my love.

Here we have our first hint that there is more than meets the eye with this rich power couple. They also have a local driver henchman named Hugo. What could they possibly want with Paul that Hugo couldn’t do? The couple will never admit where in the world they are originally from, and Tom can’t place the accent. He thinks they are just an eccentric wealthy couple and doesn’t think much about it especially because they are throwing money at him.

They want Tom to travel to the country near Grasse in the Alpes Maritimes and find them a castle to rent. They have extremely specific qualifications for this castle like it has to have a wall around it and a chapel and a tower. They want the atmosphere of the 18th 19th century to escape all the modern noise. Tom heads out with his camera.

After his first quest he is given another. He must find a blonde nineteen-year-old girl that looks and acts her age, who is a native French speaker and has zero family ties. He obviously finds this request ludicrous. What would they even want with this girl? Paul assures him that he can’t tell him, but no harm will come to the young girl and in fact she will be paid well enough to change her life. Tom knows he’s deep into something shady now. He’s obviously being set up for something but it’s hard to turn down the money and he continues on.

Does he find the girl? What do they want with her? What’s up with this castle? Who are these people?

And here we have the gothic mystery. It’s a conspiracy against Tom but one that is in his face. He’s not being gaslit like in other gothics. He knows it’s bullshit but keeps on with the charade. Does this have to do with the fact that he’s a man? An interesting sociological example of the way men and women were viewed back then. This is the first gothic mystery I have read where the protagonist is male. Maybe because it was before the 60s explosion of the paperback gothics specifically marketed to women? Other than the lack of gaslighting this is tit for tat a gothic. A sole character plucked from their normal life and placed alone in an isolated location filled with strangers who seem friendly at face value. The story is saturated in gothic atmosphere. Hell, we even got a bona fide crumbling castle, isolated in the French mountains. Anna, the wife of Paul exudes pure sexuality but there is also a more wholesome love affair.

The pacing of this book was like being behind someone on the road who keeps checking their phone. You’re driving along at a normal pace and then inexplicably slow down to five miles under the speed limit for a block, all of a sudden they pick up speed a little and you’re doing five over. On and on. Go. Lull. Go. Lull. At one point some of the characters do something that would warrant action on the part of Tom but instead of figuring out what happened our main character is hanging around the café, eating petit pains and drinking orange juice. Other times he's scaling walls and fist fighting unknown attackers.

Either way, it’s a decent read.

The Dark Mill by Claudette Nicole

Claudette Nicole is actually Trailsman creator, Jon Messman. Jon Messman was responsible for many action and Men’s Adventure series like the Revenger, inspired by the Executioner boom, and several entries in the Nick Carter Killmaster series. He had a two-part series inspired by the Travis McGee series called Logan. Many standalones in the crime, espionage and action-adventure genres, plus he wrote most of the first 200 books in the adult western Trailsman series. He wrote nine gothic mysteries under the name Claudette Nicole. Dark Mill was his fifth and was first published as a paperback original in 1972 by Fawcett Gold Medal.

Video review here. Written review below.

The basic premise: Valery Curtis is a compassionate nurse who cares for an rich old lady, named Carlotta Van Dyne, in the hospital. Carlotta is enamored with the thoughtful nature of Valery and offers her a job watching her granddaughter for two months in her remote Maine chateau. The pay is $3000 plus all expenses paid. Valery is in a mental slump and this seems like the perfect way to change her environment and revitalize her life.

When she arrives at the estate with the mysterious name of Verdelet no one is there but the gaunt Lurch-like caretaker/servant Labat. She waits for a month and just when she is about ready to leave the little girl Tansy appears. Tansy immediately asks to go down to the old mill. While walking around the dilapidated structure Valery falls through a rotten board and slips underneath to the now spinning water mill. After narrowly being crushed to death she eventually shimmies her way out, getting knocked out in the process.

She awakes in her bed to a handsome man standing over her. He is the little girl’s uncle, Bob Van Dyne. He’s charming, boisterous, outgoing, confident and he wants a piece of Valery’s sugar pie. Valery is not against the prospect.

Also, there is his friend and coworker Glen Perry. He is quiet and sheepish. Submissive to Bob’s every command. The lack of back-bone bothers Valery. What a waste of a handsome man, she thinks.

The little girl, Tansy isn’t bothered in the slightest by this near-death accident of her new babysitter. She almost seems bored by it. She is a smart mouthed little brat whose soul purpose is to belittle Valery psychologically. She is described as looking like Shirley Temple with bouncing blonde curls and little kewpie dresses. You’re going to hate this girl.

As Valery gets to know these new people she is also informed another uncle will be showing up. A Brother Martin Van Dyne, a monk who left the official church but not the cloth. This guy sits around smiling while constantly spewing nihilistic philosophies on the inherent desire to kill inside humans and how there is nothing wrong with it. He strangely seems to not believe in good or evil so therefore any travesty a person commits is in the laws of nature. Valery is not a fan of his philosophies or his company.

Like most gothic mysteries the mystery is often whether the odd things that are happening are real or all in the main character’s head. Is there a conspiracy against her? Who can she trust?

The mystery in the Dark Mill is who is this strange aristocratic family and what are their dark secrets? Was Valery really hired to care for this little girl is there something more sinister at work?

Gaslighting is a huge part of most of the gothics I have read and this one is no different. The little girl is a sadist whose torment of Valery escalates as the plot progresses. By the end Valery is in a tight spot and has to make some serious decisions that go against her own moral character. It makes me wonder what exactly Messman was trying to say here about the murderous nature hiding in every one of us and what it takes for it to come out. And when it does, is it even necessarily a bad thing?

Maybe I’m reading too much into it but the book is filled with such philosophies emitting from the mouth of the questionable monk.

Either way, this was a wonderful conspiracy mystery peppered with all the gothic flavor. Here’s a little taste. All from the first paragraph:

Cavernous old house. Afternoon turned grey. Chill wind. Her tall willowy body. An echo of the cattails. Violet eyes. Jet black hair. The wind stabbed at her again. Strange place. Hollow of land. Beauty here was an ominous thing, at once frightening and compelling.

Men's Adventure Q&A with the Men's Adventure Library

I have a livestream Q&A with the men, Robert Deis and Wyatt Doyle from the Men's Adventure Library on my youtube channel this Sunday, May 25th at 6pm EST. There is a live chat feature so we will be taking questions from the audience. Tune in, it's going to be a lot of fun!