Timbalier, by Clayton Coleman (Dell, 1969). The blog SpookyBooky notes the dearth of information about Coleman, suggesting the moniker may be a pseudonym. It goes on to speculate that the circa 1965 domestic suspense novel Nightmare in July was written by the same person, this time using the byline Clara Coleman.
Robert McGinnis is no slouch, either, when it comes to producing covers for paperback works of Gothic romance and horror. The commonalities seem to be women as the victims of one fright or another, and eerie mansions or—better still—sinister castles as their backdrop.
(Left) Farramonde, by “Katherine Troy” (Dell, 1969). Troy was a nom de plume employed by Anne Maybury. (Right) Wait for What Will Come, by “Barbara Michaels,” aka Barbara Mertz (Fawcett Crest, 1978). Under another byline, “Elizabeth Peters,” Mertz penned the famous Amelia Peabody historical mysteries.
(Left) Chateau in the Shadows, by “Susan Marvin” (Dell, 1969). Marvin was actually prolific New York fictionist Julie Ellis. (Right) The Diamonds of Alcazar, by Mary Kay Simmons (Dell, 1972).
(Left) House of Shadows, by Mair Unsworth (Avon, 1971). In case you’re wondering, that’s supposed to be a “brooding Welsh mansion” behind the fleeing figure in white. (Right) The Return, by Daoma Winston (Avon, 1972). According to the book-focused Web site Fantastic Fiction, “all of [Winston’s] novels have a strong occult theme and usually feature ghosts, witches, demons or magic.” Yeah, I could’ve guessed that with a mere glance at McGinnis’ cover art.
Journey into Danger, by Beatrice Taylor (Ballantine-Beagle, 1974).
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