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From the mind of F. Marion Crawford, the celebrated American author known for his historical romances and chilling supernatural tales, comes a classic story of familial betrayal and chilling spectral malice.
The Dead Smile centers on a young man, a descendant of an ancient but cursed Irish family, who returns to his ancestral home, an isolated and dilapidated castle. He discovers a terrifying family secret tied to a past crime involving betrayal and murder. The malice of the past manifests as a chilling haunting, dominated by the relentless presence of a deceased relative whose face…mehr

Produktbeschreibung
From the mind of F. Marion Crawford, the celebrated American author known for his historical romances and chilling supernatural tales, comes a classic story of familial betrayal and chilling spectral malice.

The Dead Smile centers on a young man, a descendant of an ancient but cursed Irish family, who returns to his ancestral home, an isolated and dilapidated castle. He discovers a terrifying family secret tied to a past crime involving betrayal and murder. The malice of the past manifests as a chilling haunting, dominated by the relentless presence of a deceased relative whose face bears a grotesque, triumphant, and utterly malevolent smile. This spectral grin is a constant, terrifying reminder of the ancestor's dark deed and his enduring ability to torment the living.

This story is a masterful example of the classic ghost story and Gothic fiction, building intense dread from atmosphere and psychological terror. It is essential reading for fans of supernatural classics and tales where a family curse is all too real.


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Autorenporträt
Francis Marion Crawford (1854 - 1909) was an American writer noted for his many novels, especially those set in Italy and for his classic weird and fantastic stories. H. Russell Wakefield, in an essay on ghost stories, called Crawford's "The Upper Berth" "the very best one" of such stories. Norman Douglas credits Crawford's financial success as instrumental in encouraging himself to write (though he remained critical of Crawford's habit of inserting first-person editorial comments into his fiction).