Horror, Romance, and the Wrong Kind of Love

H.D. Carlton, Haunting Adeline: Cat & Mouse Duet, Book 1

Adeline Reilly has just inherited her grandmother's old house, a Victorian-style manor knockoff overlooking the Washington coast. The house might be cursed; Addie certainly thinks it resembles a horror movie set, but that doesn’t discourage her from moving in and updating the interior. But somebody else has noticed Addie’s arrival. A nameless hacker, vigilante, and apparent superhuman begins stalking her, entering her house silently and with apparent impunity.

I became interested in this novel because author H.D. Carlton became a runaway bestseller without backing from a Big-Five publisher. Maybe, I thought, she tapped some unrecognized reservoir of readership the algorithm-driven mainstreamers ignored. Having read this one, I suspect that her magic must be her willingness to air Freudian linen, because I don’t recall a more bog-standard psychological tapestry recently outside an undergraduate psych textbook.

Like Carlton, Addie is an independent novelist, and therefore has remarkable time liberty. She apparently has freedom to supervise the professional restoration of Parsons Manor, while also having lunch dates with her best friend, and live author appearances. Despite her freedom, though, she has no ability to supervise her house, so her stalker has an unimpeded ability to enter, leave flowers and letters, raid her liquor cabinet, and escape unseen.

And what a stalker. He has time enough to haunt Addie’s romantic life, including torturing and humiliating her dates. But he moonlights as a vigilante, hunting a national human trafficking network. This secondary plot is tonally inconsistent with the Gothic main plot, resembling an unsold Hollywood treatment. He’s also able to follow Addie from the city to her isolated country house, commit crimes, and destroy the evidence, remaining constantly invisible.

Adeline’s support network apparently consists of two people: her mother and her best friend. Daya, her best friend, has one role: try to get Addie laid. That’s her response to everything. Excessively ambitious house restoration project? Let’s get drunk and laid. Stalker somehow entering Addie’s locked house and leaving tokens? Let’s get drunk and laid. Describing Daya as Adeline’s Freudian id is, frankly, generous.

Her mother, therefore, is her Freudian superego. She exists to warn Addie against anything risky, chaotic, or fun. She appears when necessary to provide dire, sepulchral exposition, and to urge Addie to assume more socially acceptable adult responsibilities. At one key juncture, she drives an hour to give Addie a warning she could’ve conveyed in a text message, because fundamentally, she isn’t a rounded person, she’s a narrative device.

H.D. Carlton

If we understand Addie’s supporting cast in Freudian terms, then her nameless stalker represents both Eros and Thanos. He selects Addie entirely because she’s beautiful, which he expounds in lush detail. But, without speaking to her (or reading her prose) he declares himself “addicted” to her. Then he proclaims: “All I want is to break her. Shatter her into pieces. And then arrange those pieces to fit against my own.”

Yikes.

Carlton manipulates the story to ensure that Addie’s stalker remains, for narrative purposes, blameless. Sure, he’s a violent torturer, but it’s okay, because the people he hurts are QAnon-style human traffickers. Sure, he captures and murders any man Addie attempts to hook up with, but it’s okay, because she brings home abusers and criminals who deserve being hurt. Violence winds up being protective, nurturing, even benevolent. Brutality as romantic desire.

Okay, this character is an unrefined fantasy of male domination. Some women find violence the ultimate expression of masculinity; I’m reminded of the women who sent Richard Ramirez, the Night Stalker, love letters during his decades of incarceration. I can only imagine the women who entertain these fantasies haven’t survived an abusive relationship, because this character isn’t sexy, nor even particularly frightening; he’s just disgusting.

Yet Addie romanticizes him, finding parallels with her great-grandmother’s juicy personal diaries. Like Addie, Genevieve Parsons had an enigmatic admirer who haunted the margins of her forested Gothic gingerbread house. We await how these two stories will converge. But until they do, Addie increasingly sees her violent stalker as a dangerous boyfriend like her great-nana’s dangerous, shadowy love. She sees both as frightening and titillating.

Takes all kinds, I guess.

This glorification of violence, as an expression of love, frightens me. Not in the good frightening way that draws audiences back to horror literature and novels, I understand that. Rather, this novel elevates violence as romantic desire, repeating the myth that, if he loves you, he’ll hurt any rivals and dominate your time. I suppose this might seem erotic and exciting, if you haven’t been through it.