"Carmilla," which predates Stoker's "Dracula," introduced the lesbian vampire to literature, and this reading of the entire text by Megan Follows breathes real life into LeFanu's somewhat antiquated Victorian style. Follows makes the narrator Laura into an intelligent and compelling guide through the tale; she also puts the proper ambivalence in the descriptions of Carmilla's advances, vampiric and otherwise. Indeed, what's most impressive is how clearly the lesbian subtext is presented, and how much emotion is involved. Altbough the plot is a little obvious after two centuries of rip-offs, LeFanu's innate storytelling skill and Follows' presentation make the anachronisms fairly painless, and the uniquely unsettling bits still have their chills.

Along with "Best Ghost Stories of LeFanu",also published by Dover, this completes the set of LeFanu's short stories. Although these stories tend to be a bit longer than masterworks like "Green Tea", they are every bit as worthwhile and are musts for any fan of English-Irish ghost stories. These two volumes comprise multiple collections of LeFanu's work originally published under the titles "Madame Crowl's Ghost" "In A Glass Darkly", "Golden Friars" and several previously uncollected stories. Le Fanu is right behind M.R James and right in front of E.F Benson in the ghost story writing business.

An amazing collection of gothic horror! One of my favorite books, out-of-print for decades is now restored in a complete edition. Le Fanu is a master of horror, much in the style of HP Lovecraft or William Hope Hodgson (check out Gothic Horror 1 & 2 for the best of Hodgson, incl. "The Ghost Pirates").

Everyday happenings grow progressively stranger, with a heavy sense of dread, until events explode in unimaginable freakishness! Wow! A fantasy escape for those who like dark victorian tales of ghosts, goblins, & demons. Enjoy!

I was pretty excited when I came across Le Fanu's book as I had read somewhere that he was one of the originators of gothic literature. Perhaps I am not used to the pace of Victorian novels, but Le Fanu's book was too draggy for me. I am not even sure it was very suspenseful at all. Too many minor characters also spolit the book for me -- was Captain Oakley only in the novel to show off the naivety of Maud? The mystery of Uncle Silas wasn't very engaging and I was just dying to get to the end of the novel just so I could move on to other things. The ending of the book is also predictable, and Uncle Silas basically lived up to his horrible reputation.

This is a real rip-snorter of a gothic novel. Eighteen-year-old Maude, whose mother is dead, has been raised by her wealthy father, an adherent to a peculiar Scandinavian science religion. There are dark rumors afoot about the character of Maude's father's brother, the mysterious Uncle Silas, into whose guardianship Maude is entrusted at her father's death. Maude is the only thing standing between the money she will inherit from her father (when she comes of age) and Silas' considerable debt. Laudanum addiction, poison, big old houses with uninhabited wings, a creepy cousin (Silas' son), and an evil French governess: if you like gothic novels, this one's got it all.

Joseph Sheridan (J. S.) LeFanu, despite fame in Victorian times, has mostly fallen off the radar of modern readers. His superlative "Uncle Silas" is clear evidence as to why anyone who loves a good yarn will be immediately drawn in by his considerable gifts. This novel has a well-modulated dark atmosphere, clearly drawn and fully human characters and a superb plot.

The titular Silas is the uncle of our heroine Maud Ruthyn, who becomes the ward of her mysterious uncle upon her father's death. Silas has an unsavory reputation, having once been accused of murdering a man to whom he owed a gambling debt, but he has, by the time Maud first meets him, apparently repented and found religion. She goes to his home willingly, quickly befriends his saucy daughter Milly and is, for the most part, happy in her new surroundings. The plot thickens from there, and without giving away important details, the reader should know that LeFanu lets loose with a ripping good story that ends most satisfactorily and with some wonderful twists.

LeFanu is a skilled writer at the apex of his powers and an astute observer of the human condition. Some of the more telling lines exhibiting his gifts include:

" . . . that lady has a certain spirit of opposition within her, and to disclose a small wish of any sort was generally, if it lay in her power, to prevent its accomplishment."

"Already I was sorry to lose him. So soon we begin to make a property of what pleases us."

"People grow to be friends by liking, Madame, and liking comes of itself, not by bargain."

"She had received a note from Papa. He had had the impudence to forgive HER for HIS impertinence."

"In very early youth, we do not appreciate the restraints which act upon malignity, or know how effectually fear protects us where conscience is wanting."

"One of the terrible dislocations of our habits of mind respecting the dead is that our earthly future is robbed of them, and we thrown exclusively upon retrospect."

" 'The world,' he resumed after a short pause, 'has no faith in any man's conversion; it never forgets what he was, it never believes him anything better, it is an inexorable and stupid judge.' "

" . . . I had felt, in the whirl and horror of my mind, on the very point of submitting, just as nervous people are said to throw themselves over precipices through sheer dread of falling."

Admirers of Wilkie Collins, Thomas Hardy and, to a lesser degree, of Charles Dickens will find much to please them in the classic "Uncle Silas."

Unfortunately, I read Le Fanu's Uncle Silas before picking up The Wyvern Mystery. Although I enjoyed The Wyvern Mystery, I felt it was not as well written and plotted as Uncle Silas. At one point, you seem to reach the climax as 'the old soldier' becomes very nasty indeed; but then she all but disappears from the book. The ending was predictable - you could see it coming from a mile off. Overall, the book was entertaining, but I would recommend Uncle Silas over this story any day.

J. Sheridan LeFanu is not as difficult to get into as other Gothic fiction authors are. I would definitely recommend the 'Wyvern Mystery' to anyone looking at beginning to read Gothic fiction. I would recommend to anyone, however, as a very well-rounded book. The storyline takes many exciting twists and turns, though LeFanu's slow and detailed style may find little friendliness from modern readers. Those who appreciate detail will find his intricate portraits both refreshing and beautiful. Many times I found myself smiling at the believable and realistic depictions of emotion or character traits. LeFanu definitely shows that he is not an amatuer and demands attention from modern readers. He is widely unread, but his great talents at storytelling deserve attention. The 'mystery' of the Wyvern Mystery centers around a young couple's troubles due to elopement, financial problems, and the hero's dark past that comes back to haunt them both. All this and a happy ending. I implore you to resurrect this wonderful old mystery.

LeFanu's "Wyvern Mystery" is a classic example of a Gothic mystery. During the 1860's, Gothic mysteries and horror novels were popular. Although LeFanu is not as "up there " as such notable Gothic novelists as Bram Stroker or Mary Shelley, LeFanu creates a chilling and suspenseful thriller. The tale has the typical features one finds in Gothic novels- a beautiful heroine who is in danger, a mysterious family secret, a haunted mansion, prophetic dreams, appropriate dark atmosphere and as added bonus LeFanu created a "sub-human " character who has been damaged in her past and has now become a monster out for revenge. At time reminiscent of Jane Eyre, Wyvern mystery is a must have for mystery fans of the genre. PBS broadcasted a screen adaptation on their Mystery Series. Also I recommend all other LeFanu novels and also the Gothic mystery "Lady Audley's Secret ". Enjoy.

I first became acquainted with Carmilla from the Hammer Studios Karstein Trilogy of The Vampire Lovers, Lust for a Vampire, and Twins of Evil. The Vampire Lovers is the only one that draws from this book. The book starts getting into the movie from about the fifth chapter. I recognised dialog and descriptions in the plots of both. It's quite a liberal adaption, but the essence of the story remains intact. For example, the dialog isn't verbatim. The single line from The Vampire Lovers of "You must die, everybody must die" is about a paragraph's length of dialog in the book. It's a fantastic tale. Most of the lesbian is implied, and I caught gratuitous nudity added to the movie, which does add to the movie's appeal. I love the short length of about 150 pages. It never drags, and the chapters are no more than 10 pages each, making for easy reading. I put Carmilla above Bram Stoker's Dracula. Carmilla is a must-have for people with more than a passing interest of the vampire myth. I highly recommend this book. It's excellent.

Carmilla is incredibly short by modern standards. A victorian novel that **predates** anything Braum Sotker did - this classic was heavilly plagarized by Stoker (much to his credit for having excellent taste). This is a must read in its original form. If you do enjoy this novella you will probably also highly enjoy "La Horla", which is probably the second best vampire story ever penned.

Every Halloween I like to re-read the first 4 chapters of "Dracula." Those 4 chapters create the greatest vampire story ever written. However after the first 4 chapters Bram Stoker's epistilary style bogs down, becomes tiring and very out of date. Thirty years ago I discovered LeFanu's novelette, "Carmilla" and found the best vampire story that can be read.
Carmilla was written over 130 years ago but still bears the marks of a stylish and well crafted story. LeFanu, an Irish writer, created a cursed family whose vamire descendant preys on two modern (for the 19th century) families. The story is rich in atmosphere and is filled with the vampire trappings that Bram Stoker later wove into Dracula. But the best feature of Carmilla is similar to the best feature of Dracula---they both create really evil vampire figures. But there is a complexity to Carmilla that has been argued by readers for 130 years. Is there a lesbian touch to Carmilla or is it a straight (no pun) forward vampire story? LeFanu teases the reader with a story that must have thrilled the Victorian world that first read Carmilla.
I must say that if I were going out to buy Carmilla I would turn to the Dover publication of, "The Best Ghost Stories of J. S. LeFanu." The Dover edition has several other ghost stories by LeFanu and Carmilla has some of the original illustrations that appeared in British periodicals.
If your taste is for vampire stories Carmilla, like the first 4 chapters of Dracula, is a great horror reading. Both show us powerful vampire villians. Both build to wonderful horror climaxes. Both show us that you have to be Irish to create a great vampire story. Halloween is always coming.

when it came to building a ghost story, through dialogues and occurences, noone matches Lefanu. At this, he is a master. he describes the situation before THE happening magnificently. however, when it does happen, the story is over. the horror itself seem to escape Lefanus writing style. his ghost stories are mostly not catching to a modern(living)reader. only 2 of his ghost stories are worth reading. I still recommend this book. the reason are the two stories who are not ghost stories. Carmilla, one of the very best vampire stories, built beautifully through subtle hints, psychology, and descriptions. my favourite gothic story. then it's Lefanu's masterpiece: green tea. in fact, one of the best horror stories ever written! too bad Lefanu insisted on writing so many ghost stories, instead of common horror, otherwise he might be a real master in the genre, as Carmilla and Green Tea proves

I don't much like ghost stories, but these and the ones by M R James really stand out from the pack. Atmospheric, inventive, and original. In "Carmilla" LeFanu invented the vampire story, and with its subtle horrors and hints of lesbianism, it is at least as good as Dracula. Rich and intricate prose.

Not only would I say that Lefanu is superior to the supposedly incomparable M.R. James, he actually rivals Poe in terms of psychological profundity and intellectual denseness. These tales are meticulously crafted and some of them are inexhaustible in their potential readings. M.R. James, on the other hand, is a pleasure to read, to be sure, but shallow when placed alongside the likes of Lefanu. I have nothing against James but he is strangely over-rated for some reason. Lefanu, Onions, Poe and Lovecraft I would have to rate ahead of him, with Lefanu and Poe at the top.

While the likes of Dickens and George Eliot were pretending to be God, diagnosing the ills of society and showing us how to live better, despised sensationalists like Sheridan le Fanu were busy creating modern literature. 'In a Glass Darkly' is a perfect example of this, with its unreliable narrators, fractured narratives, mysteries, ambiguities, terrors, obsession with failures of the mind and body, and disruptive sexualities. There is one story here which is told at five - five! - removes from the original experience, a Chinese whisper a long way from the dogmatic certainties of Dickens. A collection of five stories, linked as the posthoumous papers of a seriously flawed proto-psychologist, the first three are the best, brief, compressed masterpieces of atmosphere and genuine terror: le Fanu may not be a great writer, but some of his visual coups are incomparable, the nightmare visions of 'Lord Justice Harbottle' being particularly vivid. The final tale, 'Carmilla', the collections' most famous, is an extraordinary coming of age tale, in which burgeoning sexuality and fear of the vampiric unknown are inextricably linked in a work of an overt lesbianism unthinkable for its time. The longest story, 'The Room at the Dragon Volant', is barely readable, interminably dragged out, full of deadening padding - there are some excellent scenes, such as the masked ball, but the hero is an unbearably self-regarding idiot, and the 'twist' is obvious to everyone but him after the first couple of pages, that the rest is just a tedious, suspenseless waiting for his dim enlightenment (which, admittedly, is brilliantly done). The introduction by Robert Tracy provdes some good insights into le Fanu's work as expression of national and colonial fears, but, perversely, he seems less interested in the tales' powerful sexual and gender drives.

I disagree with the previous reviewer. I thought "The Room at the Dragon Volant" was one of the better stories. It was a little longer than it could have been, and yes, you figured out very quickly what was going on, but that didn't negate my enjoyment of it. (In fact, in most of the stories you have an idea of what's going to happen before it happens--like the end of "The Watcher.") You can enjoy it if you put yourself in the place of the (admittedly dorky) protagonist and read it as straight adventure.

"Carmilla" is a classic. I'd be amazed if it didn't provoke an outcry for its frank lesbian content. It must have been shocking at that time.

In A Glass Darkly is comprised of 5 lengthy short stories that are loosely woven together by the figure of Dr. Martin Hesselius, a "psychic doctor." Three of the five stories, "Green Tea," "Justice Harbottle," and "Carmilla," are classics of the Victorian ghost story genre, and are frequently anthologized. In my opinion, it is best to read them as they originally appeared, along with "The Watcher," and "A Room in the Dragon Volant," because Le Fanu had his reasons for ordering these five tales the way he did. This Oxford edition is better than the cheaper Wordsworth edition, and has great end notes. Also, Robert Tracy's introduction to Le Fanu is very accurate and well said. In conclusion, if you haven't read the first story, "Green Tea," then you don't know the full depths of Victorian horror fiction, and in my opinion, to get the fullest effects of "Green Tea," read "In A Glass Darkly" all the way through. You will not be disappointed--but you will get the shivers!

Once you get past the introduction and into the actual stories, this is a reasonable enough compilation of vampire stories. Unfortunately, the 'introduction' fails to introduce the collection adequately; it looks more like an essay on the topic "Vampires in fiction as subversion of the Oppressive Male Patriarchy: discuss"... The purpose of an introduction is to introduce the stories that follow it; the closest Ms. Gladwell's introduction comes is to occasionally draw on examples from the stories to support her own points.

While sexuality is a major part of the mystique of the vampire, Ms. Gladwell does her readers a disservice by concentrating on it to the exclusion of all other considerations; also, by treating the stories as supporting material for her essay rather than the other way around. In comparison, Christopher Frayling's anthology 'The Vampyre: Lord Ruthven to Count Dracula' has a much more balanced and informative introduction.

I loved this book. It strikes the gothic romantic in all of us!!

LeFanu is by many considered the foremost of Victorian ghost story tellers, but (and I may now be incurring in literary sin) although his writing skills are undisputedly of the finest caliber, I did not find his stories as poignant and spine-tingling as Edgar Allen Poe's or his style as graceful and fluent as E. F. Benson's, for example; in fact, I'd say there is something a little bit too elaborate and artful about some of the passages in this book as if LeFanu had thought it worthwhile sacrificing the pleasure of reading to the exquisiteness of his occasionally almost labored literary expression. There are actually instances in which I find it difficult to picture the scenes and characters in the narrative - take the descriptions of the inside and outside of Gylingden Hall (story 2) or of Sir Ardagh's castle (story 4) - though I recognize that such impressions may of course be unjust and ensue not from the text but from the limitations of the reviewer himself.

The first and last of the four stories collected in this Dover edition are definitely the most exciting and convey a feeling of completeness which is rather absent from the second and third tales. A very striking feature of the story "Green Tea", for instance, is the razor-sharp precision with which LeFanu distinguishes between subjective and objective psychic realities, and between suggestion and predisposition. The reverend in the tale has suffered damage to the subtle involucre protecting his physical body against unwanted sensory impressions and the leaking out of vital force, and so has become permanently exposed not to hallucinations but to involuntary contacts with entities or energies pertaining to the lower psychic realms, the intimacy of which most of us are mercifully spared. The problem seems to be mendable by physically occluding the fissures produced in his natural defense and thus restoring his involucre to normality, but the reverend himself sees these deeply disquieting trials as a personal chastisement from God - an interpretation of the facts which is always a valid possibility - and eventually succumbs, not to the charges of the enemy but to his own weaknesses and inclinations. A complex and fine plot, indeed.

The story "Green Tea" should be carefully examined by all whose job it is to treat or otherwise help people who suffer from psychic disorders or claim to be haunted by hallucinations - and by those, of course, who love to spend a couple of hours by the fireplace with a mug of hot chocolate and a good yarn.

This is another great find. Joseph Sheridan LeFanu was an Irish writer in the 19th Century. This thin selection of short stories is a tasty little collection. It is a forgotten art form: the ghost story but LeFanu does it quite well. This is Victorian age literature with guts. The tales are spooky but also reveal human psychology in the way great literature should. This is a classic of a bygone era. I will think twice when I hear footsteps in the attic and no one else is home. Many themes of suspense and terror are set down in these tales. Freddie Krueger can not hold a candle to tales like these.