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The Beetle: A Mystery, by Richard Marsh
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The Beetle: A Mystery By Richard Marsh The Beetle (or The Beetle: A Mystery) is an 1897 horror novel by the British writer Richard Marsh, in which a polymorphous Ancient Egyptian entity seeks revenge on a British Member of Parliament. It initially out-sold Bram Stoker's similar horror story Dracula, which appeared the same year. The story is told from four points of view, which generally flow from each other with limited scene repetition. In order, the four narrators are Robert Holt, Sydney Atherton, Marjorie Lindon, and Augustus Champnell. The story is written down as elaborate testimonies gathered by Champnell, who is a detective and who, despite only appearing during his own narration, provides the context of the antagonists' motives and the wrap-up of how the rest of the cast fared after the adventure. The events described are insinuated to be based on fact and several names used in the novel are supposedly altered to protect the identities of those involved. The year is not given, or rather left ambiguous at 18—, but everything takes place over a three day-period around June 2 on a Friday. Robert Holt, a clerk who has been looking all day for a place to work, which he hasn't had for a long time, seeks shelter and food at a workhouse in Fulham. He is, however, denied, and in the dark and rain walks on looking for another place to stay. He comes upon a road occupied by only two houses, one of which in terrible state. He finds that one to have the window open and invites himself in. This proves to be a mistake, as he comes face to face with what is later revealed to be a beetle. He is hypnotized into paralysis and the beetle takes their human form again, if covered largely by a blanket; an unsightly man with distinctly female behavior who is later referred to as the Arab. The Arab accuses Holt of being a thief and promises to treat him like one, though they make clear they have use for them. Feeding him but taking his clothes and forcing a kiss on him that appears their way of feeding themself from him, the Arab sends Holt nearly naked to the home of Paul Lessingham, a member of the House of Commons, to steal the contents of a protected drawer in his desk. If Holt is to encounter Lessingham, he is instructed to say "The Beetle", which should incapacitate him. Despite having no experience with burglary, Holt succeeds, in part because the Arab sees through his eyes and orders him onward. Before he can leave with the contents, letters tied together with a ribbon, Lessingham confronts him. In a voice not his, Holt shouts "The Beetle" twice, forcing Lessingham to shiver in a corner and allowing him to get away by jumping through the window. In the streets, he is accosted by another man, who asks if he committed a crime against Lessingham. The man is pleased by the prospect and lets Holt go, who delivers the letters to the Arab. The Arab finds they are love letters from one Marjorie Lindon and proclaims they will hurt Lessingham through her.
- Sales Rank: #2310089 in Books
- Published on: 2015-07-20
- Original language: English
- Number of items: 1
- Dimensions: 10.00" h x .67" w x 7.00" l, 1.13 pounds
- Binding: Paperback
- 294 pages
About the Author
About The Author
Richard Marsh (1857 – 1915) was the pseudonym of the British author born Richard Bernard Heldmann. A best-selling and prolific author of the late 19th century and the Edwardian period, Marsh is best known now for his supernatural thriller novel The Beetle, which was published the same year as Bram Stoker's Dracula (1897), and was initially even more popular. Marsh produced nearly 80 volumes of fiction and numerous short stories, in genres including horror, crime and romance. Many of these have been republished recently, beginning with The Beetle during 2004. Marsh's grandson Robert Aickman was a notable writer of short "strange stories".
Most helpful customer reviews
30 of 32 people found the following review helpful.
A Forgotten Classic Now Available
By PhineasB
I first came across references to this forgotten classic in the works of British occultist Kenneth Grant. Firmly rooted in the Victorian appetite for mystery and the supernatural, 'The Beetle' is a masterpiece of horror and occult fiction. Originally published in 1897, the same year as Bram Stoker's 'Dracula', Richard Marsh's highly original creation at one point actually outsold Stoker's famous vampire primer. Like Stoker's other masterpiece, 'The Jewel of Seven Stars', which was brought to the screen in the seventies with Hammer's stylish retelling as 'Blood From the Mummy's Tomb' (and the forgettable 'The Awakening'), 'The Beetle' would be well served with a film adaptation, although it might be hard pressed to find an appreciative audience today.
For those with a taste for occult-inspired fiction along the lines of H.P. Lovecraft, Arthur Machen, Bram Stoker, Sax Rohmer, Algernon Blackwood and others, 'The Beetle' will not disappoint. See also the cheaper Wordsworth edition, with a fine introduction by David Stuart Davies.
18 of 18 people found the following review helpful.
An early fiend find
By Kay A. Douglas
"A face looked into mine, and, in front of me, were those dreadful eyes. Then, whether I was dead or living, I said to myself that this could be nothing human, -nothing fashioned in God's image could wear such a shape as that. Fingers were pressed into my cheeks, they were thrust into my mouth, they touched my staring eyes, shut my eyelids, then opened them again, and-horror of horrors!-the blubber lips were pressed to mine-the soul of something evil entered into me in the guise of a kiss."
Published in 1897, the same year as Bram Stoker's Dracula, The Beetle is a classic Victorian weird/sensation novel, written in wonderfully ripe, overwrought prose, and featuring (of course!) a sinister oriental figure with the power to transform himself. This fiend persecutes and hypnotically asserts control over an upstanding British man, the hero of the novel.
In many ways, this sort of novel foreshadowed Sax Rohmer's Fu Manchu novels, but it also fed into the late 19th-century fascination with all things Egyptian. Later this sort of tale would be the grist for 20th century mummy films and Boris Karloff's mesmerizing stare, but unfortunately The Beetle never seems to have made the leap into popular modern culture the way that Dracula did. A pity, as this is an equally engrossing supernatural tale.
4 of 4 people found the following review helpful.
A quintessential fin-de-siecle novel
By Jay Dickson
Actually outselling DRACULA when they both came out in 1897, Richard Marsh's THE BEETLE was much talked about for years after its publication and even turned into a silent film. It's not as sustained as Bram Stoker's most famous novel and drags off a bit towards the end in a complicated railway chase, but sections of it are as frightening as anything Stoker ever wrote. Like DRACULA, Marsh's novel involves an Eastern invader with supernatural powers coming to England to attack a beautiful woman; it also invokes a whole series of tropes typical of the period, including gender confusion, fears of rampant unchecked sexual experimentation, imperialist concerns, and anxieties regarding the explosion of London's urban growth. The novel's central (and only really memorable) character is the titular Beetle, a monster from Egypt that can change its sex, its size, and its species: it comes to London to seek revenge against a politician who abandoned it decades ago in Cairo, and seeks to destroy him through his New Woman fiancée. The Beetle's presence in the novel is much more terrifying than its actual plans (which are never thoroughly explained); even so, it's quite a satisfyingly terrible monster. The novel's initial quarter, told from the view of a vagrant who sneaks into a London house for shelter in a storm only to find himself completely in the Beetle's mesmeric thrall, is outstanding in its hallucinatory detail and its evocation of sensory horror.
Unlike DRACULA, the THE BEETLE became almost forgotten within a generation. In just the last decade, however, multiple editions of it have appeared, not only because it speaks to much to the scholarship of critics in the fin de siecle (such as Elaine Showalter, Roger Luckhurst, and Sally Ledger) but also because it's such a rattling good read. This thoughtfully annotated edition from Valancourt, printed on beautiful paper and with the novel's original illustrations, may well be the best out there.
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