Gaston Leroux Books

The Secret of the Night, the third in Gaston Leroux's mysteries featuring the memorable reporter and amateur sleuth Joseph Rouletabille, is a marvelous read; however, until now, until I purchased this edition published by Aegypan, I couldn't find a decent version, as the copies I'd come across were seemingly pulled straight from the free-text available on the internet, and were, therefore, chock-full of mistakes.

In many quarters this story isn't as highly-rated as its literary siblings, The Mystery of the Yellow Room, which is generally considered the first and the finest of the "locked-room" mysteries, and its sequel, The Perfume of the Lady in Black; but, in my opinion, The Secret of the Night is so much more than merely a worthy follow-up to its noted predecessors, it is in every way their equal.

Like most of Boris Akunin's best-selling mysteries featuring Erast Fandorin, The Secret of the Night takes place in Tsarist Russia and includes plenty of interesting and intricate plot twists and action, enough to hook even the most jaded of readers. And in the person of the amazing Joseph Rouletabille, The Secret of the Night can boast of a detective every bit as admirable and perspicacious.

Boris Akunin's inventive modern-day mysteries are extremely popular and rightly so (truth is, I read them just as fast they come to market!); but Gaston Leroux wrote his first, long ago, and just as well! Check them out for yourself and you'll see...

The Mystery Of The Yellow Room: Extraordinary Adventures Of Joseph Rouletabille, Reporter

The Perfume of the Lady in Black (Sequel to Mystery of the Yellow Room)

Though not one of Leroux's best works, 'The Secret Of The Night,' is a stunning novel. I myself own one of the rare copies of 'Secret' as well as 'Myster of the Yellow Room,' and hopefully someday, 'Phantom.' In the book Leroux focuses upon a detective in Russia partly resembleing Inspector DuPon (Poe) and Sherlock Holmes (Conan Doyal). A 4 star book.

For those of you that don't understand French, don't try to read this, go for the English version, But I have to say that I loved this book, I don't see why it was so different. (though it was in French) I have six copies of the book in both French and English, and there is always some change, so I can tell you it was a great book, even though some of the wording was different, as it is in most of the others I have. I totally recomend it! I'm only fourteen but I loved this and other classical lit.

I read this book before my French 5 AP class and found it surprisingly easy to understand. The grammar guides and context questions at the end of each chapter are perfect for class and discussions, and help the reader understand the novel. The novel itself is of course a classic, but it is so much better in French than English, which I read afterwards to see if I had truly gotten the jist of it. I would recommend this book to anyone in intermediate french.

I had to give the book two stars simply because it is in part Gaston Leroux's novel. However, it is not the original. I was terribly disappointed to discover that, far from being the original novel in its entirety, it is "abridged and adapted especially for intermediate students of French." In other words, it was rewritten. The author's foreword is almost completely gone, retaining only "Le fantome de l'Opera a existe. Il a existe en chair et en os." [Please pardon the lack of accents.] The epilogue had vanished, too. I only explored a little farther, to discover that any sentences or words extra had been cut, even such simple things as "The Persian had seen the poor, unhappy Erik for the last time." Now, I can understand that some editing for students is necessary (did I mention there are questions at the end of each chapter?) However, this seems to me to be an extreme and heartless adaptation, and there was no mention of the alterations in the description of the book. For those who do not have a complete command of the French language and wish to read a novel in that language, fine. However, for Phantom fans who have read every English translation within reach (and own most of them), I regretfully suggest that you continue the search, and please tell me what you find. I wish you good hunting.

I read this french book during my fourth semester of high school french. By choice, not as an assignment. I have always loved the story of the phantom of the opera and here was my chance to read it is french! YAY! It's simple to read if you know the basics. Throughout the book there are footnotes that help you along the way. There is also a dictionary in the back of words in the book so it's simple and quick to look up words you don't know. If you undertstand the basic tenses and have a decent vocabulary, you are good to go and you will enjoy this book that is specialy made for students of french. I would say it is just below the petit prince level. So what are you waiting for? Go for it!

This is the most extensive, in-depth analysis you can find on the Phantom. It's not just a psychoanalytic reading though, and Dr. Hogle looks at all manifestations of the phantom-but especially the book which started it all. He provides great insights into the underlying meanings of the text and why we are ultimately intrigued by the man who becomes a phantom. He has an interesting theory on how the carnivalesque infects the bourgeois opera, the underlying class struggle within the novel, and the identity formation of various characters. With all the pop culture junk out there, it is very refreshing to have a book I can actually use for research. Very much for those who utilize literary theory, gothic theory, psychoanalytic readings of literature. However, for those die-hard "phans" of the musical, this is a difficult book. If you can get past the academic writing, you'll find some of the most interesting things about the Phantom you didn't know. As far as his analysis of other adaptations of the phantom, including the broadway play, I did not find those as important.

Hogle's book is written using dense professorial obsurantism. Readers will need an outstanding education and exceptional literary sensitivity to understand what the good professor is trying to exposit. One professional reviewer stated that the author's approach to his subject was "strenuous and original". I couldn't agree more. "Strenuous" completely describes not only this work but also the process of deciphering what it is that Hogle has to say. While it is an in depth and intensely researched look at the implications of this story for western society throughout the past century, it trades psychological insight into the cultural phenomenon for a more contextual social analysis. The personal psychological impact of the story for readers is something he seems to approach only distantly. Unfortunate, because this would give greater insight into the larger social ramifications. Also, Hogle can be repetitive with themes during the course of his analysis of the subject. I have praise only for his commentary on the original Leroux novel, which is insightful and meaningful. His commentary on the remainder of re-adaptations of the original novel ranges from good to weak. This is nowhere more apparent than in his discussion of what he calls, "the most important... renovelization of the original book" referring to the novel by Susan Kay. Here he attempts to prove, in less than four pages, a thesis that is both absurd and ill supported, despite the importance he himself has attributed to the work. Overall, his book is something that those persons enraptured with the story should avoid and that literary scholars should approach with appropriate discernment.

This book is very dry and full of "Freudian" suggestions...but this only stands to reason as the original novel (by Gaston Leroux published in 1911) was written during the height of the Freudian belief system....
I would not discredit this work in any way, other than to say it's not a "leisure read" or a bit of foolish, fluffy "PhanFiction" by any means. Those who wish to try it, do so...but be warned...it's more of a university level text that could very easily be used as an assigned text for psychology majors. It's definitely NOT for the silly "Phantom Phan" sect (and this text is often rejected by them).
Whether you buy into Freud and his ideas or not, remember than Leroux was a child of that era and his original novel often depicts many Freudian undertones.

This is a FANTASTIC read. Film critic Roger Ebert is also a gifted weaver of the absurd and what-happens-next serial. Not only is the book hilariously improbable, Ebert also uses his passion for London and the eccentrics that populate it to great effect. The result is compelling, surprising, and always riotous. This book shows a side of Roger Ebert that readers of his reviews and fans of his popular TV show may not be familiar with. Do yourself a favor - buy this reasonably priced book, enjoy it, and tell your friends. It's a real treat!

This is a cute book, and Ebert certainly has a sense of the absurd and the ironic. The story takes poor Mason all over as he tries to set his life straight, while at the same time unravelling a mystery murder. Someone compared this book with the works of P. G. Wodehouse, but I felt a little let down on that aspect, with Wodehouse being preferable. And many of the things that happened to Mason seemed a bit too ridiculous and random to me, making it less ironic coincidence and more "Good God! How did *that* happen?!" And it is certainly as silly and light as it sounds. Still, not a bad read, if you enjoy the absurd and the comedic, especially British style, and certainly not lacking in strange plot twists.

Just a Warning: If you are considering buying this on the merit of its being about the Phantom of the Opera, think again. What little of the musical is mentioned here is inaccurately represented (perhaps purposely for copyright reasons?? Although, if that were the case, I would think he wouldn't be allowed to mention it so specifically at all) and plays no significant role.

If you loved the Phantom of the Opera and love Leroux's style of writing and stories, this book is for you! It combines into one volume awesome stories by one of the best authors ever. A must have for all mystery fans.

Why is this book going for such high prices? It's not really THAT good! Granted, I love The Phantom of the Opera..and I am a Leroux purist when it comes to Erik...but one can purchase the individual Leroux stories that are found in this text...and save a ton of money. I suppose the hike in price is because of all the hype that has transpired with the coming of the newest ALW Phantom movie, but do not waste your hard earned cash on this book.....Borrow it from your library, or have them Interlibrary Loan it for you. You won't be disappointed then...

If you enjoyed "The Mystery of the Yellow Room", you will probably enjoy "The Perfume of the Lady in Black". This novel was very well written by Gaston Leroux (who actually included himself as a character in the early pages of the book!). You must read "The Mystery of the Yellow Room" before attempting "The Perfume of the Lady in Black", as it is merely a continuation of the events from "Yellow Room". To say that Gaston Leroux has a few surprises in store for you with this book would be an understatement, as he gives new meanings to the events from the first book. For me to say anyting further would be unfair to a prospective reader. While "The Mystery of the Yellow Room" was a five star book without question, "The Perfume of the Lady in Black" falls just short of that lofty plateau. For those who enjoy a well-written mystery, you could scarcely do better than Gaston Leroux.

The mask, the music, the dark mysteries, and the tortured, deformed genius who just wants love. "The Phantom of the Opera" is so well known that its story needs no explanation.

But Gaston Leroux's novel is still a spellbinding experience, full of atmospheric horror, a sense of gothic mystery, and lushly evocative language. But its crown jewel is Erik: a magnificently tortured anti-hero who inspires more horror, pity and sympathy than the rather flat hero and heroine.

The Paris opera house is said to be haunted by a ghost with a "death's head," who demands a small salary and a reserved box. Despite the sightings and fears of ballerinas and stagehands, the new managers are determined to stamp out this ridiculous story -- despite threatening letters and increasing accidents that happen around them.

Meanwhile, budding diva Christine Daae is taking Paris by storm, although nobody quite knows who taught her how to sing. And when her childhood friend Viscount Raoul de Chagny pays her a visit, he hears a passionate exchange between her and a man -- but there's no man there. She credits her new vocal abilities to the Angel of Music, but of course, that self-same Angel is the opera ghost.

As the Phantom becomes even more attached to Christine, Raoul soon finds that the ghost is actually a half-mad, horribly deformed musical genius named Erik -- and that after Christine saw his true face, he made her become engaged to him. The young lovers plan to run away together, but the "Angel of Music" isn't about to allow his beloved Christine to leave him...

Apparently there actually were some odd events -- including rumours of an opera ghost -- happening when Gaston Leroux began writing "The Phantom of the Opera." And it's a credit to his imgination that he was able to spin a some odd facts into a harrowing, heartbreaking love triangle that's based on music, obsession, adoration, and a bit of pity. And, of course, a frighteningly sympathetic "villain."

Admittedly the style is very "penny dreadful": melodramatic and overloaded on prose. But Leroux's talent shines through -- he drapes the book in a haunted atmosphere, full of snowy graveyards, dark opera backstages and underground labyrinths, all with Erik's presence hovering over it. The plot is mostly a slow, satiny procession toward the inevitable blowup, but Leroux does tinge it with scenes of romantic drama, a feeling of dread, one shocking action scene, and even some quirky humour at times.

And Leroux's writing is simply astounding as he describes the corpselike appearance of Erik ("... tore his terrible dead flesh with my nails") and his "death's" head appearance at the party. But he also excels at the more poignant moments -- Erik's final, rambling monologue to Christine after she kisses him is heartbreakingly clumsy and saddening.

Though Christine and Raoul are the hero and heroine of the book, they're actually kind of flat. Erik is the real star -- an arrogant genius who is also pitifully lonely. And insane. Despite his crazed behavior -- which results in at least two deaths -- it's hard not to feel sympathy for someone cursed with such a ghastly appearance, and so starved for human contact that a single kiss changes his life ("... he tried to catch my eye, like a dog sitting by its master").

Despite being a bit overblown in the style of its time, "The Phantom of the Opera" is a triumph of atmosphere, horror, and one of the most memorably sympathetic "villains" that you can find on the shelves. Magnificent.

The mask, the music, the dark mysteries, and the tortured, deformed genius who just wants love. "The Phantom of the Opera" is so well known that its story needs no explanation.

But Gaston Leroux's novel is still a spellbinding experience, full of atmospheric horror, a sense of gothic mystery, and lushly evocative language. But its crown jewel is Erik: a magnificently tortured anti-hero who inspires more horror, pity and sympathy than the rather flat hero and heroine.

The Paris opera house is said to be haunted by a ghost with a "death's head," who demands a small salary and a reserved box. Despite the sightings and fears of ballerinas and stagehands, the new managers are determined to stamp out this ridiculous story -- despite threatening letters and increasing accidents that happen around them.

Meanwhile, budding diva Christine Daae is taking Paris by storm, although nobody quite knows who taught her how to sing. And when her childhood friend Viscount Raoul de Chagny pays her a visit, he hears a passionate exchange between her and a man -- but there's no man there. She credits her new vocal abilities to the Angel of Music, but of course, that self-same Angel is the opera ghost.

As the Phantom becomes even more attached to Christine, Raoul soon finds that the ghost is actually a half-mad, horribly deformed musical genius named Erik -- and that after Christine saw his true face, he made her become engaged to him. The young lovers plan to run away together, but the "Angel of Music" isn't about to allow his beloved Christine to leave him...

Apparently there actually were some odd events -- including rumours of an opera ghost -- happening when Gaston Leroux began writing "The Phantom of the Opera." And it's a credit to his imgination that he was able to spin a some odd facts into a harrowing, heartbreaking love triangle that's based on music, obsession, adoration, and a bit of pity. And, of course, a frighteningly sympathetic "villain."

Admittedly the style is very "penny dreadful": melodramatic and overloaded on prose. But Leroux's talent shines through -- he drapes the book in a haunted atmosphere, full of snowy graveyards, dark opera backstages and underground labyrinths, all with Erik's presence hovering over it. The plot is mostly a slow, satiny procession toward the inevitable blowup, but Leroux does tinge it with scenes of romantic drama, a feeling of dread, one shocking action scene, and even some quirky humour at times.

And Leroux's writing is simply astounding as he describes the corpselike appearance of Erik ("... tore his terrible dead flesh with my nails") and his "death's" head appearance at the party. But he also excels at the more poignant moments -- Erik's final, rambling monologue to Christine after she kisses him is heartbreakingly clumsy and saddening.

Though Christine and Raoul are the hero and heroine of the book, they're actually kind of flat. Erik is the real star -- an arrogant genius who is also pitifully lonely. And insane. Despite his crazed behavior -- which results in at least two deaths -- it's hard not to feel sympathy for someone cursed with such a ghastly appearance, and so starved for human contact that a single kiss changes his life ("... he tried to catch my eye, like a dog sitting by its master").

Despite being a bit overblown in the style of its time, "The Phantom of the Opera" is a triumph of atmosphere, horror, and one of the most memorably sympathetic "villains" that you can find on the shelves. Magnificent.

This cute variation of "The Phantom of the Opera" is perfect for cat lovers, and for children with one caveat. Despite the illustrations, which make it very child-friendly and the shortening of the story, some of the vocabulary would even be difficult for young adults. If you buy this for a child, make sure you read it with them, so you can explain unfamiliar terms. Otherwise, this is a wonderful book and the illustrations are beautifully done in bright vibrant colors. I highly recommend it as an introduction to one of the most famous stories of the last half century.

Im sorry, the words in this book are so hard, so over the top and hard my kids sat there looking bored sick. I don't know what age group this is for: more like college level. the pictures do not go with the store. Its the original Phantom words with cat pictures. Why didn't they just draw regular people or use a cat adapted story? Weird

This version (a little different from what you might expect) inspired me to start doing watercolors of the phantom as a cat but with that Gerry Butler body, heh heh. I bet this little book will inspire you to greatness, too!

The story is a tad jumpy. The flow of the story isn't the most graceful. However, it would be wonderful for children.
As for the age group, there are some words that would perplex a seven to nine year old child. However, if your child loves to look words up, this would be a wonderful mind boost. (They can be gathered from the context, but still...I'm sure you can understand.)

A very sweet adaptation. If you are a collector, or a "phan," this is a cute addition to your book collection. The art is adorable. Though the story skips some parts which you may think of as 'the best' or crucial (I was so looking forward to seeing Erik dressed in his Red Death costume, and that was not there, unfortunately...etc.), it still follows the *original* story so very well, as opposed to the Andrew Lloyd Webber version.
For example:
[Raoul approaches Christine, who is being praised and flocked around by admirers. He calls her name, and says he rescued her scarf from the sea, but she seems to bear no recognition.]
'He plucked up he courage to knock, but suddenly he heard a voice from inside the dressing room: "Christine, you must love me." To which came Christine's tearful reply: "How can you talk like that when you know I sing only for you? Tonight I gave you my soul."
The other voice softened. "No emperor ever received such a priceless gift. Tonight the angels wept." '

If you love Phantom, you'll love this.

Oh, and yes....they keep his name: Erik, the Phantom Cat of the Opera! :)

I do not have much time to sit a read a book, especially a novel. I have to either read items for my work or at night enjoy reflective books on personal growth and challenges. But I do have a 20-30 ride to work each day. During that total hour of drive time, going to work and back home, I enjoy listening to books on CD. My daugther read the book the Phantom of the Opera and said I would enjoy the book on CD. She was right.

I purchased this for from the music section for the Musical Phantom of the Opera. THERE IS NO MUSIC ON IT. It is a person reading the book on the CD's. I expected MUSIC - not someone reading a book.

I love books of CD. I am in my car a great deal and books make the time go faster. I also miss a great deal (gotta pay attn to driving) so I listen over and over until I get it. This book can be complicated so listening more than once was necessary but I like this book very much.