By Jessica Darago
On the way home from work the other night, I happened to catch the NPR segment called Three Books, where a reviewer talks about three of his or her favorite books on one theme–topic, genre, character type, what have you. My first thought (okay, my first thought was probably, “Ooo, books!”, but my second thought) was “I’m totally stealing this idea for the blog!”
As I mentioned in my official bio on the Romantic Times website, It was M. M. Kaye’s The Shadow of the Moon that first inspired me to write gothic historical fiction. The story is set primarily in India in the 1850s, in the buildup to and amid the horrors of the Sepoy Mutiny of 1857 (which is also addressed in Meredith Duran’s stunning debut novel, The Duke of Shadows–are the titles mere coincidence?). Winter de Ballestros, trapped in a nightmare marriage to a commissioner of the British East India Company, uncovers hints of a native conspiracy to overthrow the British occupying forces. She turns to the only British officer she can trust–Alex Randall, her husband’s assistant and the man she secretly loves. Alex has long been aware of the coming storm, but he cannot convince the Company’s leaders of the danger. When the Company’s callous treatment of the Indian people drives the native soldiers to mutiny, Alex cannot stop the tide of violence and horror, and he and Winter must run to survive.
I’ve often called Shadow my Ur-romance novel, an example of everything I think historical romance should be: full of lush detail, a cast of authentic, original characters, and the fate of a nation at stake. For historical drama, it doesn’t get any better than this.
Though I usually list Shadow as my favorite, it was far from the only book of its kind to make an impression on my adolescent psyche. In fact, the first romance novel I ever read was by the prolific and beloved Victoria Holt. She (under her various pseudonyms, but especially as Holt or as Jean Plaidy) was my grandmother’s favorite author. I think my mother still has a shelf full of her hardbacks. One lazy summer day when I was 13, hot and bored and looking for something to read, I pulled The Judas Kiss off that shelf. I read it in one gigantic gulp, then immediately gave it to my best friend Robyn to read. She devoured it too, and thus two obsessions with all novels gothic were born.
The Judas Kiss tells the story of Pippa Ewell, a woman on a quest to find her sister’s killer and recover her sister’s son, whom no one else believes exists. Along the way, she meets Conrad, a mysterious stranger (all good gothic novels have a mysterious stranger!) who sweeps her off her feet (and into bed). But when she learns Conrad’s true identity, she realizes he may be the man behind her sister’s murder. This novel follows my number one rule for creating conflict in a romance: The main character falls for the last person in the world she should love. The book is also remarkable by recent standards for not being set Germany, not Britain, a lovely and dramatic change of scenery.
Finally, I come to a novel that by current standards many would hesitate to call a romance. But I would call it one, and in fact I believe Anya Seton practically invented the paranormal romance genre in her dark tale of love, politics, and reincarnation, Green Darkness. Celia Marsden is a woman literally haunted by her past–her past life, that is. As Celia de Bohun, her forbidden romance with Brother Stephen during the turbulent days of the Tudor Reformation brought her to a horrific end. Now a 20th-century American woman, her marriage to English nobleman Sir Richard Marsden is being torn apart by Richard’s strange moods and Celia’s terrifying visions of her former life. Enter Dr. Akananda, a Hindu psychologist who recognizes the cause of Celia’s growing madness and helps her through a past life regression in the hopes of setting her free.
Green Darkness is not an easy book to read. It is full of the brutality of life in the Tudor era and the cruelties of madness and a crumbling marriage. But it is a sprawling, dense, engrossing, thought-provoking, and satisfying novel for fans of history and fantasy alike.
Pretty clear, isn’t it, why I write dark gothic historicals. I can see elements of The Serpent’s Tooth in all of these books: Winter’s loneliness and searching for a home; the tragic conflict between Pippa’s love of her family and love of the hero; the sometimes un-romantic honesty about the political realities of Britain’s past shown in Seton’s novel. It’s been 20 years or more since I first read these three novels, but I know all three will always be a part of me as a writer.