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Shadows Amongst the Threads
Shadows Amongst the Threads is a haunting, soul-baring collection of poetry that plunges headfirst into the murky depths of the human psyche. Written by J.A. Santana, the book explores the concept of the “shadow” — that darker half of our personality Carl Jung warned us not to ignore. The poems are a tapestry of anguish, longing, introspection, and myth. The collection moves through surreal landscapes—withered forests, shadowy corridors, dreamscapes, and apocalyptic ruins—while reflecting on fear, identity, sin, love, and collective moral decay. Santana threads together classical references, psychological insights, and raw emotion, pulling readers deep into a world where monsters wear familiar faces, often our own.
I enjoyed how immersive and atmospheric the writing is. Santana’s voice feels ancient and modern all at once—like a lost prophet speaking in riddles. The rhythm and word choice at times feel Shakespearean or Biblical, yet there’s also a grounded emotional rawness in many of the lines. Some pieces like “Darkness,” “Doppelgänger,” and “Rain I” are unsettling in their vivid imagery but unforgettable in their truths. You can feel the poet wrestling with shame, existential dread, and an aching thirst for meaning. And it isn’t just gloom for gloom’s sake. There’s an undeniable urgency behind the words—as if Santana is begging readers to confront their own shadows before they become monsters.
The language, though beautiful, is dense. I found myself needing to take breaks, reread stanzas, and sometimes simply sit with the weight of it all. A few poems are abstract or metaphor-heavy, and the emotional intensity sometimes overwhelms the clarity. But even when it was hard to follow, I never doubted the sincerity. There’s a strange kind of beauty in getting lost in Santana’s bleak, lyrical universe. It’s not for everyone, but for those who’ve stared down their own darkness, it will feel eerily familiar.
Shadows Amongst the Threads is a collection that rewards patience and introspection. I’d recommend it to anyone who loves poetry that digs deep into the soul and isn’t afraid of getting their hands dirty. It’s especially powerful for readers interested in shadow work, trauma, mythology, and the emotional weight of existence.
Pages: 94 | ASIN : B0BKGZ6L6V
The Haunting of Wellsley Manor
Len Handeland’s The Haunting of Wellsley Manor is a gothic horror novel that follows William Martens, a young man seeking to escape the dead-end monotony of his hometown by attending Cornell University. But his aspirations are soon entangled in a series of ghostly encounters at his grandfather’s decaying estate in Ithaca. As he settles into his new life, William is haunted—literally and emotionally—by family secrets, unresolved trauma, and spectral figures that begin to cross the veil between the living and the dead. The deeper he digs into the house’s eerie history, the more he realizes that some legacies come with strings attached and blood on their hands.
I was drawn in from the very beginning. The dialogue felt natural and raw—sometimes even painfully real, especially during the tense moments between William and his bitter, emotionally distant father. There’s something incredibly satisfying about a story that doesn’t rush. The buildup is slow and deliberate, and that pacing works here. It lets you soak in the atmosphere—the creaking floors, the dusty corridors, the strained silences. The house itself becomes a character, and not just a spooky backdrop. What Handeland nails is the eerie tension between generational pride and inherited guilt. His prose has this honest, almost nostalgic warmth when depicting William’s relationship with his grandfather, Isaiah. Those moments hit me hard.
Sometimes the writing dipped into the overly descriptive, and while the story’s emotional arcs were compelling, the scares occasionally felt more atmospheric than truly chilling. I didn’t mind that too much—this is more The Sixth Sense than The Conjuring—but readers expecting non-stop frights may be left wanting. Still, the dream sequences and ghostly children were deeply unsettling in a quiet and lingering way. The mirror scenes especially gave me the kind of slow-building dread I love in horror fiction.
I’d recommend The Haunting of Wellsley Manor to anyone who enjoys a slower burn and emotionally rich storytelling. It’s a ghost story wrapped in a coming-of-age tale, laced with regret and second chances. If you liked The Others or even older Stephen King novels like Bag of Bones, you’ll probably enjoy this. It’s not just about ghosts. It’s about how the past clings to us, follows us, and sometimes, if we’re not careful, swallows us whole.
Pages: 236 | ASIN : B0DTBZNRV9
A Literary Hero
Dracula: Finding of a Shadow is a bold reimagining of Bram Stoker’s gothic masterpiece, presenting it as a stage play that mingles dark comedy, high drama, and an intriguing exploration of vampiric lore. What were some ideas that were important for you to share in this book?
Dracula – is one of the most successful heroes of mass culture, who came to us from the pages of the famous gothic novel by Bram Stoker “Dracula”, written over 125 years ago. This book (“Dracula: Finding of a Shadow”) is dedicated to the image and character of Dracula: how it was formed, how it has transformed over the years, its future, and further development in the world of literature, film, and theatre.
Did you find anything in your research of this book that surprised you?
In the recently discovered Bram Stoker’s diaries and notes, published by the great-grand-nephew of the famous author – Dacre Stoker, I have found for myself a number of answers to questions about how this literary hero was born, why the author awarded him particular characteristics and qualities. I’ve also discovered information about Bram’s attitude towards theatre in general and the staging of his novel in particular. You can read all about it in the Foreword, written by Dacre Stoker himself, and also in the exclusive interview with Dacre included in the book.
In my original play “Dracula: Finding of a Shadow” the character of Count Dracula is presented as a collective image, based not only on the original novel by Bram Stoker, but also the prequel and the sequel, co-authored by Dacre Stoker, who used Bram’s notes and diaries to create them.
What is the next book that you are working on, and when will it be available?
My next book – “Teach Me How to Die. A Novella and Other Stories” – is currently being published. It is my first prosaic experience. The novella “Teach Me How to Die” is dedicated to a very important issue of our time – suicide and its prevention. I believe the book will be released this summer.
Author Links: GoodReads | Facebook | Website | Instagram
as the 175th anniversary of its author, Bram Stoker. In the foreword, written by the great-
grandnephew of the writer, Dacre Stoker, we discover that Bram Stoker worked in theater, loved
theater, and was inspired by the dramatic art. Dacre’s exclusive interview introduces the results
of his detective-research of various documents and Bram’s personal journals and notes — all of
the many discoveries led to the creation of the prequel, Dracul, and the sequel, Dracula the Un-
Dead.
Lisa Monde’s play Dracula: Finding of a Shadow was inspired by the original novel by
Bram Stoker, as well as both – the sequel and the prequel. The play had several Off-Broadway
productions. This current edition also includes an original play by the guest-playwright Thomas
R. Gordon – Dracula: Bloodlines. Both plays premiered at the Gene Frankel Theater in New
York City.
Over ten years ago, Lisa published her first scientific article on the evolution of the image
of Dracula in literature and art. Besides the plays, two essays by Lisa Monde are also included in
this book, both shedding light on the mystery of the birth of the stellar literary character and the
evolution of the image of Dracula.
In the Epilogue, Lisa summarizes the stages of the path traversed by Dracula in literature
and other types of art, as well as shares her ideas on Dracula’s future.
Dracula: Finding of a Shadow
Dracula: Finding of a Shadow is a bold reimagining of Bram Stoker’s gothic masterpiece, presenting it as a stage play that mingles dark comedy, high drama, and an intriguing exploration of vampiric lore. Through layers of theatricality and clever dialogue, the book serves as both a tribute and an expansion of the Dracula mythos. It’s packed with eccentric characters like the sultry vampiresses and the enigmatic Alucard, blending modern humor with classic gothic intensity. The narrative weaves moments of levity and horror, making it an unconventional but engrossing continuation of the Dracula legend.
One of the main values of this anthology lies in its deep study and research into Dracula as a subject, meticulously carried out by the author. This commitment to exploring the Dracula mythos elevates the work beyond mere storytelling. The book is enriched with an interview featuring Dacre Stoker, the collector and keeper of Bram Stoker’s literary legacy. This fascinating addition offers insights into the theatrical potential of the novel and the importance of theater in Bram Stoker’s life and work, making the anthology not just a play but an immersive dive into the world of Dracula.
The anthology also includes two thought-provoking essays that delve into the origins of Dracula as a literary character and his enduring legacy in cinema, theater, and musical theater. These essays give readers a unique opportunity to see Dracula from multiple perspectives: his birth, evolution, and lasting cultural impact. This exploration of Dracula’s image across different mediums adds layers of context and richness to the experience, allowing fans to appreciate the depth and breadth of the Count’s influence.
At the heart of the anthology is the play Dracula: Finding of a Shadow, which draws inspiration not only from the original novel but also from the prequel and sequel written by Dacre Stoker. The play captures the essence of the gothic classic while blending it with contemporary themes and dramatic innovation. The Epilogue offers a visionary take on Dracula’s future, presenting him as one of the most successful heroes of mass culture over the last two centuries, a perspective that feels both fitting and ambitious.
What struck me first about the play itself was its playful tone, especially in the scenes featuring the vampiresses. Their banter about trivialities like fashion or misunderstandings of modern vocabulary adds a quirky charm that offsets the brooding atmosphere. One particularly memorable scene was the Tango sequence between Dracula and Mina. It was strange and theatrical, but it effectively captured Dracula’s hypnotic allure while also hinting at his underlying vulnerability. These creative choices kept me entertained.
The character of Alucard is a standout. As Dracula’s estranged shadow, his mix of resentment, mischief, and strange loyalty gave him depth. His philosophical musings about shadows and freedom resonated with me more than the main plot.
Dracula’s raw, unyielding yearning for his lost love, Elisabeta, remains compelling. Lines like, “I wanted to forget her, but she comes to me once again,” highlight his tragic romanticism and elevate the character beyond a stereotypical villain. Yet, I couldn’t help but wish the script balanced these emotional beats better.
While I appreciated the modern twists, some elements felt overdone. The vampiresses’ slapstick antics and their convoluted schemes occasionally derailed the tension. At times, I wanted the story to focus more on Mina and Jonathan’s arc. Their rushed wedding at a corrupted church was both eerie and heart-wrenching, especially with the subtle hints that Father Dominic might not be human. That scene was masterfully creepy, though it left me craving more development of Mina’s perspective and her growing ties to Dracula’s world.
Dracula: Finding of a Shadow is for fans of gothic theater who enjoy modern flourishes and a bit of camp. It’s a work that doesn’t take itself too seriously but still delivers moments of intrigue and poignancy. By including not just the play but also essays, an interview with Dacre Stoker, and a rich examination of Dracula’s influence across art forms, the anthology becomes a must-read for anyone fascinated by the vampire legend. If you love quirky reimaginings with the freedom to not always stay true to the source material’s tone, you’ll likely enjoy this.
Pages: 220 | ASIN : B0CN9QNSSZ
Ashes
Alice Reaper’s past clings to her like a shadow. Ever since the haunting night at the funeral home, her life has been consumed by nightmares and the oppressive weight of unseen terrors. Isolated from those she once loved, Alice resigns herself to a life devoid of joy or peace. But when Viviana enters her world, a glimmer of hope cuts through the darkness. For a moment, everything feels possible—until it doesn’t. Can Viviana pull Alice from the depths of despair, or will the shadows swallow her whole?
Ashes, by David Edgar Grinnell, is an evocative exploration of grief, despair, and the journey toward healing. Told in the raw, intimate perspective of first-person narration, readers experience Alice’s turmoil as if it were their own. Her father, Oscar, and other supporting characters add layers to the narrative, showing the different ways people live with—and sometimes succumb to—trauma. Grinnell doesn’t just present pain; he holds a mirror to it, reflecting its complexity and its power to shape lives.
While Ashes dives deeply into themes of sorrow and loss, it offers solace to readers who see their struggles mirrored in the characters. Tarot card readings and philosophical exchanges between Alice and Viviana provide moments of introspection and guidance, carving a path toward hope. The story is as much about finding light in the dark as it is about acknowledging the darkness itself.
Grinnell deftly weaves elements of Gothic tradition, paganism, and tender romance into the narrative, adding depth and dimension to the story. Viviana, with her Gothic charm and fascination with the dark arts, brings an air of mystery and intrigue. Though the spark between Alice and Viviana feels sudden, their unfolding relationship is both poignant and deeply satisfying. The romance balances the novel’s weightier themes, offering warmth and connection amid the bleakness.
One of the novel’s standout features is its cast of characters. Despite their youth, they carry a profound sense of wisdom. Their voices resonate with thought-provoking reflections, often quoting classic literature in ways that feel both meaningful and natural. These moments of insight elevate the story, offering readers not just entertainment, but inspiration.
At its core, Ashes, by David Edgar Grinnell, is more than a tale of grief—it’s a story of resilience, hope, and the transformative power of love. Readers drawn to Gothic themes, explorations of mental health, or heartfelt LGBTQ+ romances will find much to cherish in this beautifully crafted novel. It’s a reminder that even in life’s darkest moments, there’s a chance to heal and move forward.
Pages: 368 | ISBN : 978-1736867587
Lone Crusader
The Camaro Murders follows a man straddling the line between two worlds who is tasked with gathering murdered souls and subsequently uncovers the identity of a young girl’s killer. What was the inspiration for the setup of your story?
Music was a huge influence for this story, and so there were a lot of vibes and abstract ideas floating in my head that gelled in unexpected ways based on what I was listening to at the time. One of the primary examples is Coheed and Cambria. Their albums are concept albums, and the lyrics tell a story, but only part of the story. And sometimes seemingly small/inconsequential parts of the story, relatively speaking. There was a forum at the time where fans would try to piece the story together based on what they could glean from the lyrics, and I found the whole thing really interesting. And so, my goal with The Camaro Murders was to invoke a similar experience with the reader where they get most of the story but have to fill in some of the connective tissue with their own imaginations. But there was also a lot of my childhood in the story: the podunk town where my grandparents lived, the Knight Rider motif of a lone crusader and his car, the Biblical narrative of Cain and Abel, things like that. I would also call out Sheriff Bell from Cormac McCarthy’s No Country For Old Men as an archetype for Sheriff Hildersham’s character.
How long did it take you to imagine, draft, and write the world your characters live in?
The writing process was largely organic, and if I recall, took place over the course of about a year and a half. I was working mostly by impulse and with abstract ideas–impressions, if you will–and developed some basic ground rules for the world I was creating before piecing together the events of two winters, twelve years apart. It was the first long-form thing I’d done even though it was only 30,000 words, and so probably took longer than it would if I did it today.
I particularly enjoyed the technique of using four different narrators and perspectives. Was that a challenge to construct?
Thanks. I wouldn’t say it was a challenge per se, but it was a lot of fun at any rate. I really like getting into a character’s head and trying to speak and think the way they would. That said, it’s always easy to accidentally slip into your own voice, or sometimes cross wires on characters, so if there is a challenge in balancing multiple first-person POVs, that would be it. You want each character to have their own motivations and way of looking at things… The one nuance about The Camaro Murders is that the story is told out of sequence from a chronological perspective, and so I had to be cognizant of how the characters thought, spoke, and behaved at different times of their lives–in one case, this meant the difference between a seven-year-old and a college student.
Can we look forward to more work from you soon? What are you currently working on?
I’m currently writing the third book in my Reeve series, which is a Gothic Western, alternate history type of thing. The title is Riders of the Black Cowl. My goal is to have the first draft finished by the end of summer. That means I should have a final manuscript ready to go by the end of the year, but we’ll see. The interesting thing about this installment is I’m writing it completely organically. I haven’t done that since writing The Camaro Murders–I’ve employed an outline for every book since. So, there might be some more intense revising this time around.
Author Links: GoodReads | Facebook | Website | Amazon
The man known as the Driver wanders between the living and the dead, tasked with gathering murdered souls. When he learns a young girl’s killer will act again, he must make a choice: carry out his duty or intervene to save a boy’s life.
The Camaro Murders
In The Camaro Murders, Ian Lewis crafts a compelling narrative centered around a murder in a small town, told from four distinct perspectives, including one from beyond the grave. The driver of the Camaro, a man straddling the line between the living and the dead, is tasked with gathering murdered souls. As he navigates this eerie realm, he uncovers the identity of a young girl’s killer, who poses an imminent threat. Faced with a moral dilemma, he must choose between following his orders and saving a boy’s life by intervening.
Lewis excels in creating an otherworldly atmosphere while grounding his characters in relatable human experiences. Each perspective is uniquely rendered, with narratives in the first person that are well-crafted and thoughtfully developed. The multi-faceted storytelling draws readers deeper into the plot, making it a gripping read from start to finish. The book’s non-linear timeline, which shifts back and forth, enhances the plot’s complexity and intrigue. This narrative technique adds depth to the story, making it more engaging as the reader progresses. The careful construction of these shifts in time demonstrates Lewis’s skill in maintaining a coherent and compelling storyline.
Notably, The Camaro Murders is a clean read, devoid of lingering graphic violence. Lewis’s sensitivity in handling violent themes with caution and restraint is commendable, ensuring that the story remains impactful without unnecessary gore. This thoughtful approach allows the reader to focus on the emotional and psychological aspects of the narrative.
The Camaro Murders is an excellent read, earning a solid four out of five stars. Ian Lewis’s experimental technique as a writer complements the plotline effectively, making the book a standout in its genre. I highly recommend this book to anyone looking for a thought-provoking and engaging read with a unique narrative structure.
Pages: 153 | ISBN : 978-1976976339
People Are Complicated
Upon the Pale Isle of Gloam follows a girl who wakes up on a deserted shoreline with no memories and surrounded by supernatural beings. What was the inspiration for the setup of your story?
I have a deep appreciation for gothic fiction. One day the desire struck me to start on a story that would be somewhat of a love letter to the genre. To me, few things capture gothic storytelling better than horror. So, when I started writing Upon the Pale Isle of Gloam, I wanted to draw inspiration from the classic themes and elements we all love in gothic literature and horror. Things like existentialism and abandoned places, for example. A misty, supernatural island seemed like a great place to start.
What are some things that you find interesting about the human condition that you think make for great fiction?
That’s a great question. I think people are complicated, and though most are aware of that, there’s still this tendency to try and generalize others. Sometimes we’re quick to label them. Sometimes we oversimplify the complex problems they’re facing. We force black and white bottom lines onto gray areas. But no matter how much we do it, those complexities and gray areas are still there glaring back at us. Ignoring them doesn’t make them any less relevant.
Exploring parts of the human condition that are overlooked and shrugged off makes for interesting stories. At times it can be awkward. Sometimes ugly. But we can learn a lot from taking a moment to consider what others are going through. Maybe even learn more about ourselves—all while indulging in the escapism that stories deliver. Just look at the impact of a book like Mary Shelley’s Frankenstein.
I felt that Upon the Pale Isle of Gloam delivers the drama so well that it flirts with the grimdark genre. Was it your intention to give the story a darker tone?
It was, absolutely. I tend to be drawn toward dark stories that make me feel something or walk away with a different perspective, even if it’s not one I’m comfortable with. When I chose to write a tale set within the gothic horror genre, I felt a darker tone would be crucial to delivering the kind of story I wanted to tell.
What is the next book that you are working on, and when can your fans expect it to be out?
I’m currently in the early stages of my next book, which will likely be more of a literary drama rather than horror. It’s hard to say when I’ll be finished with it, though I hope it won’t take me too long. In the meantime, I’d like to encourage readers of Upon the Pale Isle of Gloam to follow me on social media for updates. I’d love to hear from everyone.
Author Links: GoodReads | Twitter | Website
Upon a deserted shoreline, Rue wakes alone with no knowledge of her past. Decades of wreckage lay sprawled across the beach. The days are impossibly short, and the weather foreboding. Worse are the supernatural beings that stalk the landscape, littering it with corpses. Using only her instincts, Rue embarks on a journey to reclaim her truth and find a way home—all while unraveling the isle’s dark secret.
A spooky weekend read brimming with gothic themes and atmospheric horror.
Some content may not be suitable for all audiences. For more information, please visit http://www.markgulino.com/novella.
LITERARY TITAN 