The Haunted Hotel [Paperback]

Wilkie Collins (Author)

Book Description

Publication Date: May 1, 2002 | ISBN-10: 1587156903 | ISBN-13: 978-1587156908

Is there no explanation of the mystery of The Haunted Hotel? Is The Haunted Hotel the tale of a haunting -- or the tale of a crime? The ghost of Lord Montberry haunts the Palace Hotel in Venice --- or does it? Montberry's beautiful-yet-terrifying wife, the Countess Narona, and her erstwhile brother are the center of the terror that fills the Palace Hotel. Are their malefactions at the root of the haunting -- or is there something darker, something much more unknowable at work?

Editorial Reviews

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Product Details

• Paperback: 228 pages
• Publisher: Borgo Press (May 1, 2002)
• Language: English
• ISBN-10: 1587156903
• ISBN-13: 978-1587156908
• Product Dimensions: 9 x 6.2 x 0.7 inches
• Shipping Weight: 13.4 ounces (View shipping rates and policies)
• Average Customer Review: 4.2 out of 5 stars  See all reviews (12 customer reviews)
• Amazon Best Sellers Rank: #3,691,131 in Books (See Top 100 in Books)

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Customer Reviews

Most Helpful Customer Reviews

36 of 38 people found the following review helpful:

5.0 out of 5 stars Subtitled: A Mystery of Modern Venice - 1860 vintage, September 25, 2004

By 

Michael Wischmeyer (Houston, Texas) - See all my reviews
(VINE VOICE)    (REAL NAME)   

This review is from: The Haunted Hotel (Paperback)

Reading a novel by Wilkie Collins requires substantial time, but my investment is usually well rewarded. His lesser known novel, The Haunted Hotel, is uncharacteristically short, and is an easy way to become acquainted with Wilkie Collins. The Haunted Hotel offers a fast moving, tight plot that maintains the reader's interest. It is a mystery story, a ghost story, and an early psychological thriller, all melded smoothly together.

The story begins in London, but later moves to the modern Venice of 1860. The dark, wet waterways and aging palaces provide an ideal setting for a mysterious death and a possibly related disappearance. Suspicion there is, but evidence is sparse. A threatening apparition indirectly hints at further clues.

The psychology component revolves around the Countess Narona, one of the most memorable characters created by Collins. The seemingly amoral Countess foresees, or believes she foresees, her eventual punishment and doom for previous evils. Her obsession leads her step by step toward the very retribution that she hopes to avoid.

The Haunted Hotel - A Mystery of Modern Venice was first published in 1879. I recommend buying the inexpensive Dover edition (ISBN 0486243338). Dover also reprints other books by Wilkie Collins, including The Moonstone, The Lady in White, The Dead Secret, Basil, No Name, and others. Through these works Wilkie Collins is credited with having popularized the classic detective mystery story.

33 of 36 people found the following review helpful:

5.0 out of 5 stars True Collins Style., July 26, 2000

By 

Sherrie Brownell "Ouzel" (Alaska USA) - See all my reviews

This review is from: The Haunted Hotel (Paperback)

If you are a Wilkie Collins fan, well then, add this title to your list. I have. A story filled with suspenses and mystery. It keeps you turning the pages until the end. Who killed the count or did anyone? What happened to the courier? Is the countess mad? Told partly by letters and differing characters' perspective it is typical of Collins' narrative style. He takes the readers to a most stupendous climax in Venice. It is a ghost story, a fun read, like watching an old black and white movie. Recommeded!

23 of 26 people found the following review helpful:

4.0 out of 5 stars A supernatural, melodramatic mystery, September 18, 1998

By A Customer

This review is from: The Haunted Hotel (Paperback)

Wilkie Collins, who wrote such landmark (and lengthy) mysteries as "The Moonstone" and "The Woman in White," has a very short effort, too. "The Haunted Hotel" is that effort. As mysteries go, this one is rather understated, though one must make allowances for the fact that it was written in 1878, long before Christie, Carr, and others gave the genre a more definite shape. (One must also make allowances for the sexism contained in the book lest one hurl the book at the nearest wall, window, or other suitable repository.)

The story begins when a man and woman become engaged. Sadly, though, he was already engaged. His first fiancee very graciously bows out, and the man marries his second fiancee. They head to Venice, where their stay in a castle is marked by mystery. A maid quits. A porter then disappears without a trace. Finally, the man dies. All of these events lead toward a series of coincidences that draws the many characters together for a final revelation.

The story, though, is more a melodrama than a mystery. Indeed, the mystery is subverted for much of the story as the characters' lives overlap, collide, and generally run into each other. It is easy, amid this seeming chaos, to lose sight of the second fiancee, a fascinating character who is so dominated by her sense of fate and supernatural vengeance that she causes events for which she later blames Fate. Unfortunately, she is the most interesting character and is absent from too much of the story. She alone seems to break free of the rather confining roles imposed on the others by the times and the culture. In a longer book, her absences might be a source of great consternation, but the reader who pushes through the first 80 or so pages will be well rewarded in the last 50, where she reclaims center stage and where the mystery also comes to the fore.