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Far from being aimed at the predominantly middleclass readership her sensation novels were soon to scandalise, this first tale may be placed within the tradition of penny blood fictions, consumed by a burgeoning working-class readership. By this point Braddon had in fact been producing published fiction for at least two years, beginning with the penny part serialisation of her first novel, Three Times Dead, in 1860. Of especial note are the various serials Braddon wrote at the very beginning of her career, prior to her sensational success with Lady Audley's Secret in 1862. This is particularly unfortunate for a scholarly understanding of the Victorian Gothic because Braddon's extensive oeuvre includes interesting and often innovative examples of many of the popular forms now regarded as significant to the generic development of Gothic fiction during the nineteenth century.
(3) The greater extent of her work, however, is less often discussed. Braddon has become fairly well established within the canon of Victorian Sensation Fiction, itself accepted by modern critics as a key nineteenth-century genre, partaking of the Gothic.
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This article addresses two areas typically overlooked within academic study of the Gothic: the Victorian penny blood serial and Mary Elizabeth Braddon's contribution to it. Mary Elizabeth Braddon, 'My First Novel'. My spirits were certainly dashed at the technical shortcomings of that first serial. The miserable little wood block which illustrated that first number would have disgraced a baker's whitey-brown bag, would have been un-worthy to illustrate a penny bun. Braddon, Letter to Bulwer Lytton, December 1862 (1) The amount of crime, treachery, murder, slow poisoning & general infamy required by the Halfpenny reader is something terrible.
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