(Last summer I briefly returned to my young girl passion of reading Modern Gothic thrillers. Here's my take on this mystery subgenre and my review of a British Gothic thriller writer's fourth book!)
My first reading passion was for the tales of mystery and suspense called Modern Gothic thrillers. From the time I was old enough to peruse the adult section of the public library in that small Southern town where I grew up, I hunted down the novels of Daphne Du Maurier, Anya Seton, Mary Stewart, and fell in love with the prolific Barbara Mertz writing as Barbara Michaels, who eventually published thirty of her wonderful tales of suspense.
In an introductory essay touting a 2008 English course at CUNY called "The Gothic Experience," a Professor Melani attributes the first great practitioner of the Gothic novel to Ann Radcliffe, the most popular and best paid novelist of eighteenth century England . Radcliffe "added suspense, painted evocative landscapes and moods or atmosphere, portrayed increasingly complex, fascinatingly-horrifying, evil villains, and focused on the heroine and her struggle with him." Her best works, the professor continues, are A SICILIAN ROMANCE (1790), THE MYSTERIES OF UDOLPHO (1794) and THE ITALIAN (1797). Although Professor Melani would not include popular Gothic fiction in the course readings, she talks of these Modern Gothic or Gothic Romance novels and states that Daphne DuMaurier's REBECCA (1938) is the quintessential Modern Gothic Thriller.
I wonder what Professor Melani would think of British writer S. J. Bolton? Bolton has written four Gothic thrillers. I recently wrote a review of her fourth thriller, NOW YOU SEE ME, which I titled "The High Priestess of Rural Gothic Crime Goes Urban":
Over in Harrogate, England the third week of July 2011, they dubbed S. J. Bolton the high priestess of rural gothic crime. Her third book BLOOD HARVEST was shortlisted for the Theakston Old Peculier mystery novel of the year at the Harrogate festival. This title is apt: all three of Bolton's previous mysteries are "lush with creepy British atmosphere." Bolton's award-winning debut novel SACRIFICE is set on a Shetland Island. The next two novels are set in isolated British villages. The narrators, or main female characters, are strong, professional women (an obstetrician, a veterinarian, and a psychiatrist) and at least one female in the books is deformed or disabled. There's also a hint of romance and dark family secrets. Reviewers have called Bolton the "new queen of suspense" and after a bit of flap reading of her fourth novel, this reader thought she was about to read "Mary Higgins Clark goes to London."
Well, so much for flap reading! NOW YOU SEE ME is not only a fine example of a Modern Gothic thriller, it's a police procedural!
The narrator of the novel is one D. I. Lacey Flint of the Sapphire unit (crimes against women) of the London Metro Police. She has been on the force for four years. She is a Ripperologist. That's right, an expert in the Jack the Ripper five canonical cases of 1888-89. The five undisputed Ripper Crimes. It seems Lacey, after interviewing a victim of gang rape in a seedy part of London, discovers the first modern-day copycat Ripper victim on August 31 the day Polly Nichols' body was found in Victorian London some eleven decades previously. And other victims follow.
For the first part of NOW YOU SEE ME, we are smothered in Ripper lore, gory description, and lectures. (Bolton has well researched the subject. She lists among other references ANATOMY OF A KILLER by Patricia Cornwell.) If you are squeamish about the Ripper stuff and skim the first half of the book, slow down about Chapter 59. A suspect has been found through DNA on the third victim. The Major Investigation Team is celebrating the close of the case. And into the Squad Room walks the fathers of a private school's rowing team with their solicitors. It seems the first four modern-day victims were mothers of the young rowers. Get ready for a FIVE STAR finish!
And Gothic lovers, don't dismay! The elements are there. A freelance journalist named Emma Boston, with a missing right ear and burn marks on her neck, befriends our protagonist. D. I. Mark Joesbury becomes both romantically interested in Lacey and suspicious of her spotty background. Lacey herself is rather enigmatic and slips down to Camden late at night for sexual adventure. And Julie Andrews sings "My Favourite Things" in her head throughout the book.