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The Curses We Keep
The York family believed distance would save them.
Fleeing the pyres of Salem in 1692, they sought refuge in Carolina's sultry lowcountry, desperate to escape the witch trial hysteria that had consumed their neighbors. But in their new Charleston homestead, the nightmares begin anew. Spectral figures drift through moonlit rooms. Livestock perish in inexplicable numbers. And young Cassandra York sees what others cannot—or will not—acknowledge.
Something followed them from Salem.
As Cassandra delves into her family's guarded history, she uncovers the horrifying truth: a witch's vengeance, sworn in blood and flame, has bound the York bloodline to an eternal cycle of torment. Each generation inherits the curse anew. And now, in this remote colonial outpost, the reckoning has come due.
The Curses We Keep emerges as a forgotten masterwork of Southern Gothic terror that chills to the marrow.
Fleeing the pyres of Salem in 1692, they sought refuge in Carolina's sultry lowcountry, desperate to escape the witch trial hysteria that had consumed their neighbors. But in their new Charleston homestead, the nightmares begin anew. Spectral figures drift through moonlit rooms. Livestock perish in inexplicable numbers. And young Cassandra York sees what others cannot—or will not—acknowledge.
Something followed them from Salem.
As Cassandra delves into her family's guarded history, she uncovers the horrifying truth: a witch's vengeance, sworn in blood and flame, has bound the York bloodline to an eternal cycle of torment. Each generation inherits the curse anew. And now, in this remote colonial outpost, the reckoning has come due.
The Curses We Keep emerges as a forgotten masterwork of Southern Gothic terror that chills to the marrow.
124 pages, Kindle Edition
Published March 2, 2026
About the author
Dakota J. Miller
2 books11 followersDakota J. Miller is an emerging voice in horror fiction with the upcoming release of his debut, The Curses We Keep.
A U.S. Army veteran with a PhD in Health Sciences, Dakota brings a distinctive perspective to his writing. When he’s not working, he’s preoccupied with unraveling the human condition—a fixation that seeps into every page he writes.
Raised in the Carolinas and shaped by military moves across the country, he now pours his Southern roots into dark, psychologically charged tales.
The Curses We Keep is a haunting Southern Gothic horror story about a family who fled the Salem Witch Trials, only to settle in 17th-century Charleston—where the past refuses to stay buried. Told with such authenticity and timeless dread, it feels like a lost classic pulled from a locked archive.
Beyond his debut, Dakota has written a chilling short story from which the characters will be seamlessly interwoven into another author’s upcoming novel, Moon Goddess by Faye Hollidaye, releasing in early 2026.
Though new to fiction, Dakota writes with a voice we thought we’d lost—one we desperately need back.
A U.S. Army veteran with a PhD in Health Sciences, Dakota brings a distinctive perspective to his writing. When he’s not working, he’s preoccupied with unraveling the human condition—a fixation that seeps into every page he writes.
Raised in the Carolinas and shaped by military moves across the country, he now pours his Southern roots into dark, psychologically charged tales.
The Curses We Keep is a haunting Southern Gothic horror story about a family who fled the Salem Witch Trials, only to settle in 17th-century Charleston—where the past refuses to stay buried. Told with such authenticity and timeless dread, it feels like a lost classic pulled from a locked archive.
Beyond his debut, Dakota has written a chilling short story from which the characters will be seamlessly interwoven into another author’s upcoming novel, Moon Goddess by Faye Hollidaye, releasing in early 2026.
Though new to fiction, Dakota writes with a voice we thought we’d lost—one we desperately need back.
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Displaying 1 - 13 of 13 reviews
March 26, 2026
A really pleasant surprise, being that I’d seen early samples online that were in need of a fair bit of tinkering. The prose is still more lyrical than I’m used to, but the author has tempered this by keeping the sentences from running too long, allowing for a smooth and not overly taxing read. All in all, this a tight, atmospheric tale with a solid sense of time and place and an excellent twist in the final third. Kudos indeed.
April 20, 2026
“…the Lord’s house is open to all souls”
Well, probably not by the end of the story. The Curses We Keep has all the hallmarks of a sleeper hit in the horror genre.
Dakota does tailor his language, or at least the dialogue to be period proper. I did not find this as a drag, but those not used to time piece stories in archaic prose may find it slow. That I think is a strength given the story. Within the prose, the desire to remain cemented in a traditional Southern Gothic Horror remains clear. Dread. The story starts on a dark tone and then build dread to the final climax. Within the story, the focus remains on the dark elements of the human condition, regardless of the background setting of the accusations of witches and wendigos.
Well, probably not by the end of the story. The Curses We Keep has all the hallmarks of a sleeper hit in the horror genre.
Dakota does tailor his language, or at least the dialogue to be period proper. I did not find this as a drag, but those not used to time piece stories in archaic prose may find it slow. That I think is a strength given the story. Within the prose, the desire to remain cemented in a traditional Southern Gothic Horror remains clear. Dread. The story starts on a dark tone and then build dread to the final climax. Within the story, the focus remains on the dark elements of the human condition, regardless of the background setting of the accusations of witches and wendigos.
April 7, 2026
When I saw this book’s description mentioned a curse following a family from the Salem Witch Trials and heard that it was an attempt to resurrect the kind of atmospheric gothic horror novel we all used to love in the past, I was immediately intrigued. It sounds right up my alley. And as much as I love modern horror with all its extremes, this is exactly the kind of quieter but no less frightening horror I’m often looking for.
And indeed, that’s exactly what we get. Though the book takes clear inspiration from the structure and prose of more classic gothic novels of centuries past, it’s written in modern language. However, the attentive reader will still detect that though it “sounds” modern in its language, it “feels” classical in its approach. For instance, though there’s no real shortage of action, particularly as the tale reaches its climax, the rich atmospheric setting is arguably the real star of the show.
Well, either that or the ideas the characters have to face. The actual plot is fairly simple and straightforward once its details are all revealed, but along the way the characters have to come to grips with some pretty grim elements of the human experience. And that combination of character and atmosphere makes me feel like this book could’ve been written by one of the great masters of the past instead of just recently by a debut author.
Few have heard of this book so far, but I have a feeling it’s going to be one of those cult classics that gets passed around in indie horror circles for years to come. You might as well get ahead of the pack and read it now.
And indeed, that’s exactly what we get. Though the book takes clear inspiration from the structure and prose of more classic gothic novels of centuries past, it’s written in modern language. However, the attentive reader will still detect that though it “sounds” modern in its language, it “feels” classical in its approach. For instance, though there’s no real shortage of action, particularly as the tale reaches its climax, the rich atmospheric setting is arguably the real star of the show.
Well, either that or the ideas the characters have to face. The actual plot is fairly simple and straightforward once its details are all revealed, but along the way the characters have to come to grips with some pretty grim elements of the human experience. And that combination of character and atmosphere makes me feel like this book could’ve been written by one of the great masters of the past instead of just recently by a debut author.
Few have heard of this book so far, but I have a feeling it’s going to be one of those cult classics that gets passed around in indie horror circles for years to come. You might as well get ahead of the pack and read it now.
March 3, 2026
"The woods lay silent, a black mouth swallowing sound. Pines stood jagged and skeletal against a sky bruised with dusk, their branches reaching upward as though clawing for the last veins of light. Spanish moss hung in long, gray shrouds that swayed in the still air, heavy with damp. Drops fell slow to the earth, each bead glinting like a tear suspended in its fall before breaking the mud with a soft patter."
— Miller, Dakota. The Curses We Keep (p. 6)
So begins Dakota Miller's debut novel, The Curses We Keep. Billed as Southern Gothic horror, I wasn't sure what to expect—the label carries weight it rarely earns anymore. The cover art alone signals something unusual: a seriousness of intent largely absent from contemporary fiction. The artistic edge of Southern Gothic seemed to have died with Flannery O'Connor and William Faulkner, only partly revived by Michael McDowell and Cormac McCarthy before a distracted reading public and a risk-averse publishing industry pushed the genre toward the margins—into the hands of independent writers like Dakota Miller.
Miller uses language the way the best writers do: to reflect meaning already embedded in the world rather than to manufacture his own. His prose is effective precisely because it is purposeful, laying bare the layered pain in his story without sentimentality or escape hatches. The terrible things unfolding feel like truth, and Miller refuses to soften their consequences. Every character must reckon with how their own darkness and folly have led them here—no one is spared, and no one is probably entirely innocent.
At times the writing evokes Poe; at others, a Faulknerian stream of consciousness pulls the reader into the current alongside the characters. The effect is quietly devastating—the kind of novel that leaves you thoughtful and unsettled long after you've set it down.
— Miller, Dakota. The Curses We Keep (p. 6)
So begins Dakota Miller's debut novel, The Curses We Keep. Billed as Southern Gothic horror, I wasn't sure what to expect—the label carries weight it rarely earns anymore. The cover art alone signals something unusual: a seriousness of intent largely absent from contemporary fiction. The artistic edge of Southern Gothic seemed to have died with Flannery O'Connor and William Faulkner, only partly revived by Michael McDowell and Cormac McCarthy before a distracted reading public and a risk-averse publishing industry pushed the genre toward the margins—into the hands of independent writers like Dakota Miller.
Miller uses language the way the best writers do: to reflect meaning already embedded in the world rather than to manufacture his own. His prose is effective precisely because it is purposeful, laying bare the layered pain in his story without sentimentality or escape hatches. The terrible things unfolding feel like truth, and Miller refuses to soften their consequences. Every character must reckon with how their own darkness and folly have led them here—no one is spared, and no one is probably entirely innocent.
At times the writing evokes Poe; at others, a Faulknerian stream of consciousness pulls the reader into the current alongside the characters. The effect is quietly devastating—the kind of novel that leaves you thoughtful and unsettled long after you've set it down.
March 12, 2026
From the opening pages Dickota establishes a heavy atmosphere, kicking off his Gothic horror with a suicide. What followed was a plot that kept me on my toes, always guessing about where threads were going. The prose is as dense as the dread it builds, and though it borders on repetitious, it never bores. I would have read this over a week normally, if i hadn't read it on stream. The characters are likable, all of them, and it only makes me hate Dickota all the more for what he does to them.
The ending is thematic, appropriate, and so mind numbingly on point I had to restrain myself on stream from starting a schism fight.
Good job Dick, excellent religious horror and a great first novel.
I'm also grateful that Dakota tore open this bandage again. Dick.
You got me talking about it, now that I had time to settle.
The ending is thematic, appropriate, and so mind numbingly on point I had to restrain myself on stream from starting a schism fight.
Good job Dick, excellent religious horror and a great first novel.
I'm also grateful that Dakota tore open this bandage again. Dick.
You got me talking about it, now that I had time to settle.
April 20, 2026
Miller's book is an extremely strong entry into what I think is a promising career.
Indie books can be, and often are, disappointing. As a reader, and also a writer, I forayed into reading indie books some years ago after writing my own, hoping to find new ideas and the willingness to do things differently, as the indie writer is not saddled by the burdens of commercial rules. Instead, I often found childish prose and cliche ideas. Cliches are fine, if done genuinely and with a creative twist, but this is most often not what I found. Not so with Curses.
I 'met' Dakota on X, and downloaded The Curses We Keep when it was a free ebook. I enjoyed it immensely. I've read it twice now, and enjoyed it perhaps more the second time, as I saw things I did not the first time. This is always a sign of a solid work.
The prose is well done, giving it a period piece feel without pretense. Dialogue is sparse and effective. The words each character speaks may be few, but they establish each personality well. The story pulls you in further as you read, but wherever you think it might be going, you will be surprised to find your instincts may be both correct and incorrect, depending on how you frame the clues.
If you expect to be provided an answer to every question the story posits, you will be disappointed. Miller doesn't spoon feed the reader, rather respects that you will pay attention on your own, and ponder the questions being asked yourself and come to terms with the heartbreaking elements.
You may be tempted to gloss over the epilogue. With this book, you should resist this urge. In fact, I would encourage that once you finish the epilogue, you jump right back to page one and re-read the entire book, as it will be an entirely different experience.
I thoroughly enjoyed this book. If you enjoy Gothic storytelling, I suspect that you will very much enjoy Miller's book as well.
I also recommend you find and follow Miller on X. He's an affable fellow and he enjoys promoting other people's works, not just his own.
Five of five. Highly recommended.
Indie books can be, and often are, disappointing. As a reader, and also a writer, I forayed into reading indie books some years ago after writing my own, hoping to find new ideas and the willingness to do things differently, as the indie writer is not saddled by the burdens of commercial rules. Instead, I often found childish prose and cliche ideas. Cliches are fine, if done genuinely and with a creative twist, but this is most often not what I found. Not so with Curses.
I 'met' Dakota on X, and downloaded The Curses We Keep when it was a free ebook. I enjoyed it immensely. I've read it twice now, and enjoyed it perhaps more the second time, as I saw things I did not the first time. This is always a sign of a solid work.
The prose is well done, giving it a period piece feel without pretense. Dialogue is sparse and effective. The words each character speaks may be few, but they establish each personality well. The story pulls you in further as you read, but wherever you think it might be going, you will be surprised to find your instincts may be both correct and incorrect, depending on how you frame the clues.
If you expect to be provided an answer to every question the story posits, you will be disappointed. Miller doesn't spoon feed the reader, rather respects that you will pay attention on your own, and ponder the questions being asked yourself and come to terms with the heartbreaking elements.
You may be tempted to gloss over the epilogue. With this book, you should resist this urge. In fact, I would encourage that once you finish the epilogue, you jump right back to page one and re-read the entire book, as it will be an entirely different experience.
I thoroughly enjoyed this book. If you enjoy Gothic storytelling, I suspect that you will very much enjoy Miller's book as well.
I also recommend you find and follow Miller on X. He's an affable fellow and he enjoys promoting other people's works, not just his own.
Five of five. Highly recommended.
March 30, 2026
This one was tough to rate as I did because I saw so much potential in the story that simply didn't come out in the print.
From the cover we can already presume we're dealing with some heavy concepts, dread, foreboding etc, and Miller certainly delivers in this aspect. While a relatively short book, the early pages whether purposefully or not, drag slowly bringing the reader into the discomfort they know is coming. The rather dark opening is sufficient to draw the reader in, however, the prose and descriptors I found lacked fluidity and made the reading lean more toward chore than pleasure to the point that I largely felt the hook had lost it's impact long before the real meat of the story was revealed. The strongest point in this book by far is atmosphere, I genuinely felt the discomfort and uneasy nature the book is steeped in.
The book is intended to fit in with 18th C literature with the structure and prose, however this attempt is largely lost in that many contemporary styles and sentence structures keep the text from displaying that majestic or timeless nature of the period. What we have in it's place is a rather heavy layer of purple prose that is meant to stand in for the intended purpose.
As mentioned, the bones of the book are quite excellent from my perspective. The concepts of inevitability, predestination, and melancholy are clearly present and should be the heart and soul of the book. While the means by which Miller chose to drive the timeline and interactions of the protagonist to her family are conceptually excellent, I did feel they were relayed too obviously or simplistically effectively spoiling the ending/twist in an effort to avoid confusion.
The ending is one that will stick with you, a bold choice and one that I certainly agree with, though I think I might be in the minority on this position. While I would consider this a solid first draft, it is the unrealised potential that I find most troubling.
From the cover we can already presume we're dealing with some heavy concepts, dread, foreboding etc, and Miller certainly delivers in this aspect. While a relatively short book, the early pages whether purposefully or not, drag slowly bringing the reader into the discomfort they know is coming. The rather dark opening is sufficient to draw the reader in, however, the prose and descriptors I found lacked fluidity and made the reading lean more toward chore than pleasure to the point that I largely felt the hook had lost it's impact long before the real meat of the story was revealed. The strongest point in this book by far is atmosphere, I genuinely felt the discomfort and uneasy nature the book is steeped in.
The book is intended to fit in with 18th C literature with the structure and prose, however this attempt is largely lost in that many contemporary styles and sentence structures keep the text from displaying that majestic or timeless nature of the period. What we have in it's place is a rather heavy layer of purple prose that is meant to stand in for the intended purpose.
As mentioned, the bones of the book are quite excellent from my perspective. The concepts of inevitability, predestination, and melancholy are clearly present and should be the heart and soul of the book. While the means by which Miller chose to drive the timeline and interactions of the protagonist to her family are conceptually excellent, I did feel they were relayed too obviously or simplistically effectively spoiling the ending/twist in an effort to avoid confusion.
The ending is one that will stick with you, a bold choice and one that I certainly agree with, though I think I might be in the minority on this position. While I would consider this a solid first draft, it is the unrealised potential that I find most troubling.
April 25, 2026
The Curses We Keep is a richly atmospheric Southern Gothic horror novel that draws deeply from historical witch trial mythology and generational storytelling.
Dakota J. Miller constructs a compelling narrative rooted in the aftermath of Salem’s 1692 hysteria, exploring the idea that distance does not erase consequence. The York family’s relocation to the Carolina lowcountry only intensifies the sense of inherited dread, reinforcing the central theme that some histories cannot be escaped.
Cassandra York serves as a strong narrative anchor, her perception of unseen forces adding both psychological tension and emotional depth. Her gradual uncovering of the family’s hidden truths strengthens the story’s pacing and thematic cohesion.
The haunting imagery throughout, from spectral figures to unexplained deaths, builds a consistent atmosphere of unease without relying on excessive exposition. The horror is slow, accumulative, and deeply rooted in place and lineage.
What stands out most is the novel’s commitment to Southern Gothic tradition, blending historical trauma, witchcraft mythology, and family legacy into a cohesive and unsettling narrative.
A strong entry in historical and gothic horror that will appeal to readers who enjoy witch centered fiction, generational curses, and atmospheric storytelling rooted in early American history.
Dakota J. Miller constructs a compelling narrative rooted in the aftermath of Salem’s 1692 hysteria, exploring the idea that distance does not erase consequence. The York family’s relocation to the Carolina lowcountry only intensifies the sense of inherited dread, reinforcing the central theme that some histories cannot be escaped.
Cassandra York serves as a strong narrative anchor, her perception of unseen forces adding both psychological tension and emotional depth. Her gradual uncovering of the family’s hidden truths strengthens the story’s pacing and thematic cohesion.
The haunting imagery throughout, from spectral figures to unexplained deaths, builds a consistent atmosphere of unease without relying on excessive exposition. The horror is slow, accumulative, and deeply rooted in place and lineage.
What stands out most is the novel’s commitment to Southern Gothic tradition, blending historical trauma, witchcraft mythology, and family legacy into a cohesive and unsettling narrative.
A strong entry in historical and gothic horror that will appeal to readers who enjoy witch centered fiction, generational curses, and atmospheric storytelling rooted in early American history.
March 11, 2026
As a longtime devotee of classic gothic tales like Wuthering Heights and Jane Eyre, I've often returned to those masterpieces, convinced they might be the only ones capable of delivering that signature chill.
I'm thrilled to discover that The Curses We Keep revives the gothic tradition in thrilling fashion, masterfully blending New England witch-trial folklore with the humid shadows of the American South. This haunting novella chilled me to the bone as I peeled back its layers of dread, revealing a curse that spans centuries and refuses to be buried.
If you love the brooding atmospheres of Edgar Allan Poe, the tormented passions of the Brontë sisters, or the eerie folklore of Washington Irving, you won't be disappointed. Dakota J. Miller has conjured what feels like a lost classic from a bygone era — one more timeless tale destined to haunt your dreams.
I'm thrilled to discover that The Curses We Keep revives the gothic tradition in thrilling fashion, masterfully blending New England witch-trial folklore with the humid shadows of the American South. This haunting novella chilled me to the bone as I peeled back its layers of dread, revealing a curse that spans centuries and refuses to be buried.
If you love the brooding atmospheres of Edgar Allan Poe, the tormented passions of the Brontë sisters, or the eerie folklore of Washington Irving, you won't be disappointed. Dakota J. Miller has conjured what feels like a lost classic from a bygone era — one more timeless tale destined to haunt your dreams.
May 4, 2026
The Curses We Keep is a strong debut! The horror vibe was clear, the tension was there, and the settings were dreary—good awareness of all senses. The writing style gave it a very intentional old-timey feel that worked really well for the era in which the story is set. The plot was solid while the prose painted a deliberate picture, and the ending was great! I’m excited to see what Miller has to offer next!
Review of advance copy received from Author
I was fortunate to have read this horrifyingly wonderful tale before it was released upon the public. After being drawn in by the wordplay and setting, I was rewarded with a wickedly intense buildup to a conclusion which delivers.
The style and story are each unique, making this a book I plan to read again.
The style and story are each unique, making this a book I plan to read again.
Review of advance copy received from Publisher
This is a classic Gothic tale of consequences. It's psychological, dark in imagery, and centered on family. To say much more about The Curses We Keep would be a spoiler.
I enjoyed this novella for its supernatural suspense, and the heartbreaking--well, you'll have to read.
I enjoyed this novella for its supernatural suspense, and the heartbreaking--well, you'll have to read.
Review of advance copy received from Author
I received an advance review copy of this novel before publication and review it in detail on my blog (World of the Written Word): https://fayehollidayebookreviews.blog.... You SHOULD be excited for the release of this breakout horror novel, and I tell you why in my review WITH an author interview!
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