A dark hymn to obsession and creation.
When a writer seeks his masterpiece, he finds instead a voice that will not let him go, a Muse that feeds on him as much as it inspires him. What follows is a descent into art, madness and blood, where every word written is another step into the abyss.
This is not a story of inspiration. It is a story of possession, of voices that demand to be heard, and of the terrible price of listening.
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This novel will be released for FREE via Amazon store as an example of the authors work.
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"An experimental novel of madness"
Gothic Literary Horror, Psychological Unravelling, Polyphonic Voices
A writer retreats in search of inspiration, only to find himself caught in the grip of something far older and more dangerous than art. The Muse calls to him in whispers, in visions, in the voices of strangers who all seem to know too much. Each page he writes feels less like creation and more like transcription, as if the story already exists and he is merely its vessel.
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As the boundaries between author, character and myth collapse, the novel becomes a labyrinth of voices, obsessions and hauntings. What begins as an act of imagination slips into ritual, possession and blood. Call of the Muse is a novel about art as curse, about creation as consumption, and about the terrible price of being chosen to speak for something beyond human.
A gothic literary horror where inspiration itself becomes the predator. Call of the Muse reads like The Haunting of Hill House rewritten by Clive Barker, a possession story told through unreliable narrators and fevered voices.
Target Market:
Call of the Muse is aimed at readers of ambitious literary horror who crave psychological depth as much as supernatural unease. It will appeal to those drawn to haunted, self-referential stories where art, madness, and myth collide, and to readers who prefer their horror to be cerebral, layered, and unsettling in its ambiguity.
Ideal readers are the ones who want their gothic fiction steeped in unreliable voices, their ghost stories laced with metafictional dread, and their thrillers sharpened with the question of whether the terror is real, imagined, or both at once.
This novel is for readers who see horror as a vehicle for obsession, identity collapse, and the monstrous cost of creativity, not just jump scares or spectacle.
Comparable Titles:
Comparable in tone and ambition to Mark Z. Danielewski’s House of Leaves and Shirley Jackson’s The Haunting of Hill House, Call of the Muse explores how art, madness, and possession intertwine until the boundaries between author and subject dissolve.
It also shares thematic ground with Clive Barker’s The Hellbound Heart in its exploration of desire, obsession, and surrender to forces beyond human control, though written with a more polyphonic, literary register.
Like Paul Tremblay’s A Head Full of Ghosts, it plays with unreliable testimony and fractured truth, but with the decadent fatalism of Patrick McGrath and the psychological intimacy of Ian McEwan at his darkest.
Fans of films like Black Swan, The Lighthouse, or Possession (Å»uÅ‚awski) will recognise its blend of artistic obsession, unreliable reality, and creeping supernatural presence, while readers of Donna Tartt’s The Secret History will be drawn to its intellectual Gothicism and descent into cultic myth.
If you believe the scariest stories are not about what lurks in the shadows but about what takes root in the mind, I would wager you will find both recognition and terror in this novel. It's an experimental presentation, inspired by Bram Stokers Dracula, the novel is presented as a cavalcade of documents, articles and gospels from a deranged mind, compiled by a journalist.