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Dark Asylum review and Q&A

with 2 comments

Image result for dark asylum e s thompson

I am a devotee of novels set in the ancient world and much of my reading centres around that period, though over the past few years I have strayed more and more outside my comfort zone. I have found myself becoming increasingly fascinated with the darker side of the 18th and 19th centuries, and with that I’ve found a resurgence of my old love of mysteries and whodunnits. Action and adventure novels set in the Victorian era have to be truly exceptional to attract me, but I am becoming a sucker for a good 19th century mystery. D. E. Meredith, Essie Fox and Robin Blake are some recent highlights.

How nice to have discovered another author who knows how to weave an enthralling mystery in such a dark and fascinating world. Dark Asylum is actually Thomson’s second novel and, while I have not read the first, I will now have to remedy that. I’m sure I’m in for a treat.

Thomson conjures up a dark and chilling world full of vivid and memorable characters all bound up in a (in this case certainly) complex plot that kept me guessing right to the end. Actually, I thought I had it pinned down twice and was wrong both times, which is nice to experience. And despite the darkness of the setting and the subject matter, Thomson manages to interject just enough quirky humour to keep the book a hearty read that drew me back in every spare minute. In fact, while there are moments in the book that made me squirm a little, there were also moments that made me chuckle out loud and note down the page number to repeat a humorous passage to my wife.

Dark Asylum takes us on a voyage through the world of Victorian madness, its diagnosis and treatment, the institutions that dealt with it and the world from which it sprang. There are doctors here both likeable and dreadful, who are experimenting with phrenology, drugs, lobotomies, therapeutic treatments and so much more. It is a world of medical upheaval and change, and not all of that change is pleasant or tasteful. One thing worthy particularly of note is the characters. They are both vivid and interesting, and they are each memorable and individual, which is not always the case in such a genre.

It is not until about 1/4 of the way through the book that we begin the true mystery, though the lead up to this point, introducing the characters and their world, is made all the more relevant by a side-tale running throughout, telling the backstory of our villain. That information is slowly released throughout, and never too early. Best of all, the unveiling of the truth towards the end is another corkscrew of twists and surprises.

This is, quite simply, a cracking book and deserves to be read. Go get yourself a copy. And as an extra treat, I have been in contact with the publisher and E. S. Thomson agreed to answer a few questions for me, so if the review alone has not tempted you to delve into Jem Flockhart’s adventures, have a little peek into the mind behind them…

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Are the locations in Dark Asylum based on real buildings either extant or now-vanished? Do you visit buildings of the period to flesh out your vision in preparation for describing them?

In this case no, I didn’t. I made everything up or used books of the period that described places.  The apothecary, the asylum, the convict transport ship are all out of my own head but based on what I read. I have been in a Victorian asylum building – I used to work in one (Craighouse, in Edinburgh) – and very grand it was too.  But it was built in the 1870s, and Angel Meadow was an old asylum, from before the asylum building programmes of the 1870s and 1880s.  Most of these sorts of places – smaller asylums – no longer exist. 


Dark Asylum is set in a harsh and very dark world. The Victorian London of which you write is a Gothic masterpiece of gloom, misery and wickedness. Given both this and the grisly subject of which you were writing, how do you attempt (and clearly succeed) in lightening the tone with moments of humour? It must be something of a balancing act.

Actually, I find I do get tired of the gloom and darkness. And at those points, just when it seems too much, I put in some humour – mainly to give the reader a rest.  I think that people are often absurd, even when they try not to be.  Dr Mothersole and his curious ideas for treating the mad, or Mrs Roseplucker, the brothel-keeper who turned to writing Penny Dreadfuls, were very easy to do.  As you say, the difficult bit is knowing when do do it, for how long, and when to stop.  Did I succeed?  I’ll let others be the judge

I was interested to see how far you pushed the boundaries in this novel in places. Is there anything about the era or setting that you are tempted to write out, or are uneasy about describing?

I suppose it depends where you think those boundaries are. I’m  uneasy about describing child prostitution – which is probably why I had the child who was pimped by her mother leap out of the bed and beat her would-be rapist to death with a poker before he had chance to do anything to her.

You have some truly colourful characters in Dark Asylum, a number of which I loved. Do you find it difficult to create characters who stand out so when the setting of your books is an era of conformity and often drab uniformity?

No I don’t find it difficult. I think there were more eccentric people in this period than people realise.  What is difficult is finding roles for women that are not boring or completely anachronistic.  I got round this by having a cross-dressing main character.  But if you want feisty women in your novel (and I do), this is not as straightforward as it is when writing a novel set in the present.

Jem is an interesting character and I found myself often wondering how she gets by without accidentally revealing her true gender. Clearly there are moments in the book where people have an inkling, but presumably you are limited in the situations you can describe (for instance having to share a room/bathroom with someone?)

Jem is based on James Barry, who spent her life dressed as a man, and practiced medicine as such in the British Army for her whole working life.  Barry graduated in medicine from Edinburgh university some 40 or so years before women were permitted to study medicine. Clearly, if she could live her life disguised as a man in such a male environment then I can manage it for Jem in a novel.  She doesn’t share a room, so that’s never a problem.  Some people seem to guess than Jem is disguised – but no one ever comes out with it and says “you are a woman!” – so you never really know whether they have worked it out or not.

Your first Jem Flockfart novel was set in the same locale as this, and I note from the back matter of the book that your next is also set in London. Are you not tempted to set a novel somewhere more familiar to you (Lancashire or Lothian for example?) Edinburgh clearly has rich pickings in the Victorian era

I left Lancashire 30 years ago, so it is not familiar to me at all anymore.  As for Edinburgh, in fact, almost all of the medical history details in the books are Scottish – mainly because I know about it thanks to my PhD, and also because Scottish medicine and medical education were surprisingly dominant in this period. Scotland punches well above its weight in the history of medicine.  So in fact i am using a lot of Scottish detail.  However,  I set the books in London because I wanted a large anonymous city, much of which has been rebuilt since the 1850s, rather than the smaller more intimate locations of Edinburgh, where everyone knows everyone else’s business.  I based the location of the first Jem story on St Thomas’s hospital in London, which was indeed knocked down to make way for a railway in the late 1840s.  Yes, I know Edinburgh intimately – I’ve been here for 30 years, but I didn’t want so distinctive a place to have a central part in the novel.  London in this period was massive, stinking, sprawling – and undergoing great change.  I wanted all this in my novel. Besides, Edinburgh is currently very well represented by historical novelists.  As a result, I don’t think the pickings are as rich as you might think.

A frivolous one to finish: what do you like to read for leisure.

Crime fiction mostly – Sherlock Holmes is an old favouite.  At the moment I’m reading Chris Brookmyre.

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Thank you, Elaine, for your time. There you go, folks. Buy Dark Asylum and immerse yourself in a great read.

Written by SJAT

March 13, 2017 at 1:18 pm