Thousands of pages of classic Gothic are collected in this large Kindle collection. An active table of contents is included to make it easy to navigate to the work you are looking for.

Authors and works include:

Ann Radcliffe
The Italian

Bram Stoker
Dracula
The Lair of the White Worm

Charles Brockden Brown
Wieland

Charlotte Bronte
Jane Eyre
Villette

Edgar Allan Poe
The Fall of the House of Usher
The Tell-Tale Heart

Edith Wharton
Afterward

Emily Bronte
Wuthering Heights

Frederick Marryat
The Phantom Ship

Gaston Leroux
The Phantom of the Opera

Henry James
The Turn of the Screw

John Polidori
The Vampyre

Joseph Sheridan Le Fanu
Carmilla

Mary Wollstonecraft Shelley
Frankenstein

Matthew Gregory Lewis
The Monk

Nathaniel Hawthorne
House of the Seven Gables
The Minister’s Black Veil
Young Goodman Brown

Robert Louis Stevenson
The Strange Case of Dr. Jekyll and Mr. Hyde

Theophile Gautier
The Mummy’s Foot

Victor Hugo
The Hunchback of Notre Dame

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A Lovecraftian tale of mystery and horror set in a steam punk-inspired world, still reeling from a devastating World War between the German and British Empires against Soviet Russia, edges closer and closer to apocalypse at the hands of their own creations, orchestrated by the sinister Father Dietrich.

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Hard to imagine now but long before Richard Attenborough became Lord Dickie, benevolent patriarch of British moviedom, he specialised in playing weaselly little thugs and punks. Brighton Rock, adapted from Graham Greene’s classic novel, offered him one of his best early roles as Pinkie, juvenile leader of a seedy gang of racetrack crooks in the Sussex seaside town. When it seems an innocent young waitress may know too much about one of their killings, Pinkie decides to keep her quiet by marrying her. But in Greene’s world of guilt-ridden Catholicism and inexorable doom, it was never going to be that easy.

Is the famous twist ending a cop-out? That depends just how much irony you read into it. But the Brighton atmosphere, all tawdry gaiety shot through with a crackling undercurrent of fear, is so vivid you can smell it. Made with a cool, dispassionate eye by the Boulting Brothers (before they turned jokey with the likes of I’m Alright Jack, for instance) and superbly shot by Harry Waxman, this is one of Britain’s few great contributions to the noir thriller cycle. Young Dickie, twitchy, vicious and terrified, is a revelation–and don’t miss William Hartnell, the original Dr Who, as his cynical sidekick. –Philip Kemp Rightly regarded as a genuine classic of British cinema, Brighton Rock has stood the test of time remarkably well to emerge as a tense, original thriller. Although there is much that is old-fashioned here (particularly the less than convincing East End accents), the tale of feuding gangster factions holds up favourably compared to modern-day efforts. In place of the now all-too-familiar violence is a quiet, brooding menace with much of the black and white film shot in the dark shadows of the underworld. Richard Attenborough holds it all together with his remarkable portrayal of young gangster Pinkie, exuding a threatening aura while often saying very little. Not surprisingly, given its base in Graham Greene’s famous novel, the film has an exceptionally strong storyline that is matched by the directions and performances. A good lesson in timeless film making.

On the DVD: Brighton Rock on disc sadly is a package with nothing to offer over the standard video release. The black and white footage shows little sign of remastering, nor does the soundtrack. There are no extras whatsoever—this is surely a massive oversight given the classic nature of the film itself. –Phil Udell

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Curious tale of a private eye who is hired by a villain to find his homicidal girlfriend. But the story takes a twist when he tracks her down and promptly falls in love with her.”Build my gallows high, baby”–just one of the quintessentially noir sentiments expressed by Robert Mitchum in this classic of the genre. Mitchum, in absolute prime, sleepy-eyed form, relates a complicated flashback about getting hired by gangster Kirk Douglas to find femme fatale Jane Greer. The chain of film noir elements–love, money, lies–drags Mitchum into the lower depths. Director Jacques Tourneur gets the edgy negotiations between men and women as exactly right as he gets the inky shadows of the noir landscape (even the sunlit exteriors are fraught with doubt). This is Mitchum in excelsis, with his usual laid-back cool laced with great dialogue and tragic foreshadowing. As for his co-star, James Agee immortally opined that Jane Greer “can best be described, in an ancient idiom, as a hot number.” Remade in 1984, unhappily, as Against All Odds (with Greer in a supporting role). –Robert Horton

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