An eerie and compelling ghost story set on the dark wilds of the Yorkshire moors. For fans of The Witchfinder's Sister and The Silent Companions, this gothic tale will weave its way into your imagination and chill you to the bone.
'Spine-tingling... the scariest ghost story I have read in a long time' Barbara Erskine
'A wonderful, macabre evocation of a lost way of life' The Times
'Like something from Emily Bronte's nightmares' Andrew Taylor, author of The Ashes of London
Maybe you've heard tales about Scarcross Hall, the house on the old coffin path that winds from village to moor top. They say there's something up here, something evil.
Mercy Booth isn't afraid. The moors and Scarcross are her home and lifeblood. But, beneath her certainty, small things are beginning to trouble her. Three ancient coins missing from her father's study, the shadowy figure out by the gatepost, an unshakeable sense that someone is watching.
When a stranger appears seeking work, Mercy reluctantly takes him in. As their stories entwine, this man will change everything. She just can't see it yet.
What readers are saying about The Coffin Path:
'A fantastic eerie ghost story to settle down with on a winters night'
'Compelling and chilling, the slow build-up of tension had me completely on edge'
'I couldn't put it down. I felt I was there on the moors, being watched by the unseen'
Winner of two RITA Awards from the Romance Writers of America and the Arthur Ellis Award from Crime Writers of Canada
New York Times Book Review, Times Literary Supplement and The Guardian Best Books of 2016
Thomas De Quincey was an obsessive. He was obsessed with Wordsworth and Coleridge, whose Lyrical Ballads provided the script to his life, and by the idea of sudden death. Running away from school to pursue the two poets, De Quincey insinuated himself into their world. Basing his sensibility on Wordsworth’s and his character on Coleridge’s, he forged a triangle of unusual psychological complexity.
Aged twenty-four, De Quincey replaced Wordsworth as the tenant of Dove Cottage, the poet’s former residence in Grasmere. In this idyllic spot he followed the reports of the notorious Ratcliffe Highway murders of 1811, when two families, including a baby, were butchered in their own homes. In his opium-soaked imagination the murderer became a poet while the poet became a murderer. Embedded in On Murder as One of the Fine Arts, De Quincey’s brilliant series of essays, Frances Wilson finds the startling story of his relationships with Wordsworth and Coleridge.
Opium was the making of De Quincey, allowing him to dissolve self-conflict, eliminate self-recrimination, and divest himself of guilt. Opium also allowed him to write, and under the pseudonym “The Opium-Eater” De Quincey emerged as the strangest and most original journalist of his age. His influence has been considerable. Poe became his double; Dostoevsky went into exile with Confessions of an English Opium-Eater in his pocket; and Charles Dickens, Oscar Wilde, George Orwell, Alfred Hitchcock, and Vladimir Nabokov were all De Quincey devotees.
There have been other biographies of Thomas De Quincey, but Guilty Thing is the first to be animated by the spirit of De Quincey himself. Following the growth of his obsessions from seed to full flowering and tracing the ways they intertwined, Frances Wilson finds the master key to De Quincey’s vast Piranesian mind. Unraveling a tale of hero worship and revenge, Guilty Thing brings the last of the Romantics roaring back to life and firmly establishes Wilson as one of our foremost contemporary biographers.