It had a heavy gold frame and leaned against the wall in the attic. But when Lucy first looked into the mirror, a strange thing happened. Another girl's face appeared beside hers, laughing. Whirling around in surprise and alarm, Lucy saw a girl wearing a long dress, a pinafore...and a sly triumphant look on her face. Also, the attic had disappeared and another room had taken its place - a room that belonged to the past. The girl in the mirror was Alice, and she had lived a hundred years ago. Lucy found she could visit her any time she looked into the mirror. At first, it was fun to enter the past and see how Alice had lived. But, gradually, the chill of terror took over. Alice's friendliness turned into a sinister desire for power and control over Lucy. And Lucy found it harder and harder to resist being trapped in the past with Alice forever!

    Then, slowly, it began to turn skywards. Och, no, he thought before the end, not ma brain... not ma brain... anything but ma brain...please don't slice ma brain... no, no... not the brain...och, no...'Never before had there been a book about a flying knife, and, although Marenghi would ink three sequels*, Slasher, R.I.P.P.E.R., and Slicer IV: The Blade is Back, Slicer is our first novel-length taste of the Marenghian terrors to come. The themes are all here: blood, redemption, fear of cutlery, distaste for body hair, and the question of Man's place (mis-place?) in Romford. Its influence can be seen in a host of imitators, notably Fork! by Herbert G. Samson.Much has been written about Slicer's psychological implications (try either Dan Britten's essay in 'Bending Spoons and Stabbing Knives: the Psychic Phenomena of Spiritual Cutlery' (New York, 1985) or Muriel Carter's Slash Me, Slay Me - Post-Modern Carve-ups in 20th Century Horror Fiction (New York, 1988) ), but most significantly it gave a much needed kick in the arm of an elitist publishing industry obsessed by literary 'classics'. And, as Hard Gore's Neil Nichols has opined: 'One can only be thankful that our bi-annual Marenghi shock treatments continue to prevent the genre slipping into postmodern somnambulism.' Marenghi evidently concurs with the renowned splatter fiction aficionado : 'I see my life as being a single-handed pump. And that can get lonely.'*Marenghi prefers to think of them as a 'self-integral cycle''It really doesn't get any better' The Observer'A cut above the rest of the so-called "dangerous implement horror" sub-genre' The Sunday Times

    Contents: Foolish Frances The rich and poor widow The elf boy The forest prince The rain woman The glass box The three oranges Mrs Luck and Mr Money The magic thread The prince's pilgrimage

    Her elder sister Ruth, caught up in a world of parties, fashions and boyfriends, ignores her. And her brother Simon, to whom she is devoted, goes to London to study music. Listless and unhappy, Anna takes no pleasure in her family's new home, or in her surroundings. The Wyndcliffe, "a brooding ancient face of sheer stone, dour and grey," matches her mood. Then she encounters John Hollis, a young sympathetic poet. But he died in 1823......"

    She had grown up a servant's child on the Grant family's estate, and had savored the memory of its elegance as well as her love for young Lennox Grant for long years after she'd been abandoned by her parents and forced to leave.Now, unexpectedly an heiress, Helen found she could go back to Gallowmerry. She could fulfill her desire to live among the Grants as an equal... .But the Gallowmerry to which she returned was not the fond home of her childhood. It had become a house of dark secrets and unspoken hatreds whose poisons had infected the entire Grant family. It had become a house of horror luring Helen herself to the brink of madness.