In All of Us Murderers, K.J. Charles has crafted a remarkable Gothic murder mystery that transcends genre boundaries, delivering a story that’s equal parts atmospheric horror, clever puzzle, and achingly beautiful love story. While the pacing occasionally stumbles in the middle act, the novel’s innovative meta-textual approach and genuinely compelling characters make it a standout addition to both LGBTQ+ romance and Gothic fiction.
A House of Secrets and Second Chances
When Zebedee “Zeb” Wyckham reluctantly accepts an invitation to his wealthy cousin’s remote Dartmoor estate, he expects little more than an uncomfortable family reunion. What he doesn’t expect is to find himself trapped behind locked gates with all the people he most wants to avoid: his dismissive brother Bram, his predatory cousin Hawley, and most painfully, Gideon Grey—his former lover turned secretary to the master of the house.
The premise grows deliciously sinister when cousin Wynn announces his true purpose: whoever marries his young ward Jessamine will inherit the vast Wyckham fortune. As family members begin dying in increasingly Gothic fashions—mysterious disappearances, spider-filled rooms, ghostly apparitions—Zeb realizes they’re all trapped in a deadly game with rules drawn from his grandfather Walter Wyckham’s notoriously lurid Gothic novels.
A Fresh Take on Familiar Tropes
Charles demonstrates masterful command of Gothic conventions while simultaneously deconstructing them. The isolated mansion, the family curse, the mysterious young woman, the brooding atmosphere—all these elements are present but filtered through a modern sensibility that acknowledges their absurdity without sacrificing their power to unsettle.
What sets All of Us Murderers apart is its meta-textual brilliance. As Zeb recognizes that real events are mirroring his grandfather’s melodramatic fiction, the story becomes a commentary on the Gothic genre itself. The fictional Walter Wyckham novels—with titles like “Clara Lackaday” and “The Stone Circle”—feel authentically Victorian in their overwrought sensationalism, yet Charles uses them to create genuine suspense rather than mere pastiche.
The murder mystery element is equally well-crafted. Charles plants clues with the skill of Agatha Christie while maintaining the atmospheric dread of classic Gothic fiction. The revelation of the mastermind’s identity and motivation feels both surprising and inevitable—the hallmark of excellent mystery writing.
Complex Characters in Impossible Circumstances
Zeb emerges as a particularly compelling protagonist. His ADHD-coded traits—the tendency to hyperfocus on interests while struggling with mundane tasks, his emotional volatility, his creative mind that makes unexpected connections—are portrayed with nuance and authenticity. Charles never presents these characteristics as flaws to be overcome but as integral parts of a complex, intelligent person navigating a world that often fails to accommodate neurodivergent thinking.
The relationship between Zeb and Gideon forms the emotional heart of the novel. Their history unfolds gradually through flashbacks and tense present-moment interactions, revealing a relationship that foundered not on lack of love but on mutual misunderstanding and poor communication. Their reconciliation feels earned rather than convenient, built on genuine character growth and honest acknowledgment of past mistakes.
Even the supporting characters—the bitter family members, the mysterious ward, the hostile staff—are given depth and motivation that extends beyond their roles in the Gothic tableau. When their secrets are revealed, they illuminate themes of exploitation, class, and the lasting damage caused by powerful men who view others as disposable.
Where the Foundation Cracks
Despite its considerable strengths, All of Us Murderers isn’t without flaws. The middle section occasionally loses momentum as the mystery mechanics take precedence over character development. Some Gothic elements feel more obligatory than organic, particularly the supernatural manifestations that prove to have mundane explanations.
The romantic subplot, while beautifully developed overall, sometimes overwhelms the mystery elements. Readers primarily interested in the Gothic atmosphere and puzzle-solving may find the romantic scenes overly detailed, while romance readers might want even more focus on the relationship dynamics.
Charles’s prose, generally elegant and atmospheric, occasionally veers into overwriting when describing the house’s Gothic features. The balance between period authenticity and modern readability doesn’t always hold steady.
A Question of Representation
All of Us Murderers succeeds admirably in its representation of ADHD traits and LGBTQ+ relationships. Charles clearly researched both areas extensively, resulting in portrayals that feel authentic rather than tokenistic. The historical setting requires some suspension of disbelief regarding acceptance of same-sex relationships, but the author handles this with sufficient subtlety to maintain plausibility.
The book’s treatment of class issues and historical slavery is more complex. While Charles doesn’t shy away from the ugly realities of how Gothic mansions were often built on exploitation, the resolution—repatriating the family fortune to former plantation territories—feels somewhat neat for such a complex historical injustice.
Literary Connections and Influences
Readers familiar with classic Gothic fiction will appreciate the numerous nods to foundational texts like “The Castle of Otranto” and “The Monk.” The influence of more recent works like Sarah Waters’s Victorian novels and the meta-fictional approach of John Fowles is also evident.
Charles’s previous works, including “The Secret Lives of Country Gentlemen” and “A Nobleman’s Guide to Seducing a Scoundrel,” establish her expertise with historical LGBTQ+ romance, but this novel shows significant growth in her ability to blend genres seamlessly.
Final Verdict
“All of Us Murderers” succeeds as both an homage to and evolution of Gothic fiction. Charles has created a work that honors the genre’s capacity for atmospheric dread while acknowledging its frequently problematic elements. The result is a novel that works on multiple levels: as a clever murder mystery, a swoon-worthy romance, and a thoughtful examination of how the past’s sins continue to echo through generations.
While not perfect, All of Us Murderers offers enough innovation and emotional depth to satisfy readers across multiple genres. Charles has established herself as a writer capable of taking familiar elements and transforming them into something both recognizable and startlingly fresh.
Perfect for Readers Who Enjoyed
- “The Seven Husbands of Evelyn Hugo” by Taylor Jenkins Reid – For the blend of historical drama and LGBTQ+ romance
- “The Silent Companions” by Laura Purcell – For atmospheric Victorian Gothic horror
- “The Gentleman’s Guide to Vice and Virtue” by Mackenzi Lee – For historical LGBTQ+ romance with adventure elements
- “Mexican Gothic” by Silvia Moreno-Garcia – For modern takes on classic Gothic tropes
- “The Inheritance Games” by Jennifer Lynn Barnes – For family mysteries involving inheritance plots
- “The Haunting of Hill House” by Shirley Jackson – For psychological horror in isolated settings
- Any of Tana French’s Dublin Murder Squad novels – For character-driven mysteries with literary depth