A gothic tale of ghosts, infidelity, murder, and love, Castle Dismal follows the protagonist Ned Clifton, a “veteran bachelor” who fears the bonds of marriage, in his holiday visit to the home of married friends.  Set during the Christmas season in South Carolina, Simms’s story illustrates the southern custom of bringing together family around a table to feast; and while Clifton eventually marries Elizabeth Singleton—freeing him from the “melancholy dependencies of bachelorism”—Simms subverts naïve nineteenth-century notions of marriage and domesticity.[1]  Marked ...

                While one of the lesser-known of Simms’s border romances, the novella Helen Halsey is nevertheless a strong work, indicative of the overall project the author undertook in that series.  The first mention of Helen Halsey in the Letters was in June 1843.  By September, Simms told James Lawson that the work was “nearly ready.”  Helen Halsey was “to follow up” Simms’s ghost story Castle Dismal, a work he announces in the same letter to be sending to “the Harpers.”[1]  Letters to Lawson from this time period indicate that the author was interested in shopping ...

           One of the most important works in Simms’s development as a writer, Martin Faber has a long and intriguing publication history.  Originally published as a novella by J. & J. Harper of New York in 1833, it was revised and expanded for re-publication, alongside nine other short stories and a poem, as Martin Faber, the Story of a Criminal, and Other Tales, issued by Harper & Brothers in 1837.[1]  Simms biographer John Caldwell Guilds notes the significance of Martin Faber for the author, as its writing and Simms’s hopes for it, seemed to seriously alter his life in his late ...

           Carl Werner was published in December 1838 by George Adlard of New York.[1]  In the author’s advertisement, Simms classified the collected stories as “moral imaginative” tales, a form of allegory illuminating the “strifes between the rival moral principles of good and evil.”  Such stories, according to John C. Guilds, may often exploit supernatural elements, although it is not necessary.  Simms attributed the origin of the title story to “an ancient monkish legend,” as he set “Carl Werner” in the deepest parts of the German forest where the narrator and his friend ...