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The King in Yellow is a fascinating, almost two-faced work. The first half consists of five legendary weird tales, loosely tied together by a fictional play—the eponymous King in Yellow—that drives those who read it mad. Celebrated by authors like H. P. Lovecraft and Lin Carter, these stories are classic tales of madness, despair, and strange happenings.

With the fifth tale the reader finds a sort of palate-cleansing collection of short prose-poems leading into the last four stories, which take a sharp turn away from the weird and into the romantic. The concluding tales are set in the Parisian art world.

In modern times The King in Yellow enjoys a reputation largely due to the strength of its first half of macabre tales, but by no means does that make the second half less enjoyable. Both halves are written in a quick, light prose style that demonstrates why Chambers was a best-seller in his day.

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Dmitri Karamazov and his father Fyodor are at war over both Dmitri’s inheritance and the affections of the beautiful Grushenka. Into this feud arrive the middle brother Ivan, recently returned from Moscow, and the youngest sibling Alyosha, who has been released into the wider world from the local monastery by the elder monk Zossima. Through a series of accidents of fate and wilful misunderstandings the Karamazovs edge closer to tragedy, while the local townspeople watch on.

The Brothers Karamazov was Fyodor Dostoevsky’s final novel, and was originally serialised in The Russian Messenger before being published as a complete novel in 1880. This edition is the well-received 1912 English translation by Constance Garnett. As well as earning wide-spread critical acclaim, the novel has been widely influential in literary and philosophical circles; Franz Kafka and James Joyce admired the emotions that verge on madness in the Karamazovs, while Sigmund Freud and Jean-Paul Satre found inspiration in the themes of patricide and existentialism.

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