In
the 26 years since Paperback Library published their final
Dark Shadows novel, Barnabas, Quentin and the Vampire
Beauty, fans of the series have been treated to a wide
range of merchandise, including videotapes, laserdiscs, toys,
comics, graphic novels and a seemingly exponentially expanding
range of non-fiction books. Incredibly, despite this evidence
of the series' continued marketability, no publishing house
has shown an interest in marketing Dark Shadows fiction
since 1972. In many ways, it is perhaps the Paperback Library
series that has shackled potential Dark Shadows novels
in their own proverbial chained coffin. Dan Ross, the author
of all 32 original Paperback Library books was prolific indeed,
but the books themselves left much to be desired, being poorly
written, both in terms of plot and characterisation. To fans
they remain an amusing curiosity often to be collected rather
than read - to the public at large, they merely reinforced
the belief that the series was little more than a cheap and
tacky soap opera: a misconception which has taken years to
erode.
It
was not until early in 1996 that word filtered through to
fans of the series that a Dark Shadows novel was to be issued
by HarperCollins Books - surely the most appropriately monickered
publisher for Dark Shadows! Written by the popular
original series actress, Lara Parker, Angélique's
Descent debuted in November 1998, testing the water to
see if further titles would be viable. The novel was unleashed
amid much publicity in the States, Lara Parker making personal
appearances at many bookstores to sign copies of the book.
The big question on my lips as Dark Shadows returned
to the bookstands was whether or not Angélique's
Descent would be a good enough 'pilot' book to generate
a new series of Dark Shadows novels.
First
impressions of any book are vitally important, and in terms
of presentation, HarperCollins have done a first class job.
The cover is impressive and well designed, and the book's
length lends it credibility as a bone-fide novel as opposed
to a run-of-the-mill television tie-in. The cover design is
perhaps a little misleading, duping potential buyers into
believing that the story centres upon Barnabas Collins, who
is practically a secondary character in Parker's novel. This
decision was no doubt taken to capitalise on the series main
icon, and this is perfectly understandable. With this in mind,
it is therefore surprising that the book itself is very much
atypical for Dark Shadows - the choice of the Caribbean
for the setting of the majority of the book is an extremely
brave move, and one that gives notice of HarperCollins' intent.
It seems that they wish to breathe new life into the Dark
Shadows format, and not always do what their readership
might expect of them. This can only be good.
Without
wishing to be unfair to Lara Parker, it can be said that her
engagement as the author to launch the HarperCollins series
was something of a calculated risk. As a writer she was something
of an unknown quantity - Angélique's Descent
would be the first novel she had ever written - but in her
favour was the obvious publicity she could generate as a well-remembered
player on the original Dark Shadows series. With the
benefit of hindsight it has to be said that she was an inspired
choice, for she has proven beyond any doubt that her talents
stretch beyond the acting sphere. The novel is well written,
engagingly plotted, entertaining and at times, quite simply
impossible to put down. Parker's descriptive style is perhaps
a little flowery, but this is not distracting, and quite suits
the novel's atmosphere - it appears influenced by gothic romance
a good deal more than it is by the horror genre. Overlooking
the clumsy phraseology that once or twice momentarily spoils
the flow, I found my eyes gliding over words that had been
strung together with the skill of a natural communicator.
These days, most television tie-in novels are 300 page clumsily-written
bores. It is therefore something at a revelation to read a
book which, at over 500 pages, still left me wanting more.
Characterisation
is generally good, and each of those who originally graced
the halls of Collinwood in the various timelines is well depicted.
Lara Parker's strong memories of her time on the show, and
of the actors, with whom she performed for several years,
have obviously paid dividends, for it is clear that the mannerisms
of the characters mirror those of the actors. Roger Collins,
particularly, is spot on, and Parker's descriptions of the
overstated actions and affectations of Julia Hoffman and the
Countess DuPres left me in no doubt that the much-missed Grayson
Hall was very much alive in the text. Barnabas is also well
drawn, and it is particularly interesting to see how he is
perceived by Angélique - someone who loves him obsessively
but whom he has wronged. The Barnabas of Angélique's
Descent is far removed from the sympathetic, tragic character
we are used to seeing: he is weak-willed, cannot control his
passion and seems to have little concern for the feelings
of the woman he once promised to marry. This is not a criticism
- it is fascinating to see a different viewpoint and this
is a perfectly valid one that certainly is not a complete
surprise - there are many pointers in the series that give
us hints that Barnabas had skeletons in his closet long before
the bat flew in for a bite... There are a couple of occasions
where Barnabas drops out of character - I can't see him referring
to anyone as "Poor bastards..." or to Roger as 'Uncle'.
These are obvious errors, which ought to have been picked
up during proof-reading, but they only stand out because everything
else seems so accurate - long gone, thankfully, are the days
when you picked up a Dark Shadows novel and pointed
out the one or two moments in the book when a character was
actually recognisable!
Strongest
of the characters in this novel is undoubtedly Angélique,
and really this must come as no surprise, as, having played
the part for four years. Lara Parker has a greater understanding
of her than of the others. Parker takes us through Angélique's
life from a very early age, and reveals the milestones in
her life and how they turned her towards witchcraft and ultimately,
to evil. It is easy for the reader to sympathise with Angélique
as she is constantly in adversity, whether she being held
captive to impersonate the goddess Erzulie by Theodore Bouchard,
or being hurt inestimably by the betrayal meted out to her
by Barnabas Collins. Occasionally in the series, Angélique
would be written very much as a two-dimensional character,
saved only by Lara Parker's ever-watchable performance - between
the covers of Angélique's Descent, she is a whole person.
She has a history, we see the reasons behind her actions and
we are also privy to her innermost thoughts. Her continued
attempts to reject the Dark Spirit give us reason to discount
Angélique as being inherently evil, and this diversion
from the televised scheme of things makes her a more intriguing
and rounded character than we had seen before. The sequence
featuring Angélique's confrontation with Barnabas following
his decision to marry Josette rather than her is quite simply
electrifying and superbly written. It was fascinating to realise
at this point that the two characters were laying the seeds
that would determine the fate of the other - far more interesting
than the "Barnabas as victim" stance of the original.
There are some very nice touches in the book. Lara Parker
has clearly made painstaking researches into voodoo and black
magic rituals and these sequences are highly convincing.
Whether
intentional or not, the burning down of the Old House by Barnabas
must have had a significant effect upon many fans of the series
who have always rued the fact that Spratt House, the mansion
used for the Old House in Dark Shadows, burned to the
ground in 1969. As I read of the Old House being consumed
in flames, I spared a thought for the Dark Shadows location
that I will never be able to see.
If
there is anything to complain about in Angélique's
Descent - and to be honest, there is very little - it
is that the level of coincidence in the storyline occasionally
stretches the credulity to breaking point. While they are
unlikely, Angélique's frequent meetings with Barnabas
- a man who lives thousands of miles from her - could be explained
away as illustrating that their lives are fated to be intertwined.
However, the unexpected - and quite ludicrous - revelation
that Andre DuPres was in fact Angélique's father definitely
stretched my disbelief a little too far. The story didn't
need the loose end of Angélique's lineage to be tied
up, and particularly not in this way. This was a soap-opera
plot device in a novel that needn't have compromised its quality
for the sake of it. The climax to the novel is the only other
slight disappointment for me, it being set in a timeIine -
1795 - where the Dark Shadows story is already mapped
out. Once again, we see them from a different perspective,
but there is a real feeling of déja-vu for the seasoned
fan. It is interesting to note that the original timeline
is presented in Angélique's Descent, as the
family governess is Phyllis Wick and not Victoria Winters.
It is unclear whether this was an editorial decision taken
for simplicity's sake, but this demonstrates the unorthodox
and refreshing way in which timelines flow in Dark Shadows.
So,
is Angélique's Descent good enough to blow away
the cobwebs hanging around Dark Shadows fiction since
the days of Dan Ross's pulp fiction forays? I think so. The
audience weaned on the Paperback Library series has grown
up and Lara Parker has delivered an intelligent and entertaining
book for a mature audience. I hope that we haven't heard the
last of Lara Parker as a writer - she is plainly talented
in this field - anyone for Angélique's Ascent?
US
Readers: Order
this book from Amazon.com
UK Readers: Order
this book from Amazon.co.uk
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