All the narrators and characters in J. Sheridan Le Fanu's In a Glass Darkly are unreliable impostors. As the title suggests, this is also the case with Arthur Machen's The Three Impostors, which similarly presents a virtual matryoshka of unreliability through a series of impostors. Both texts effect this systematic insistence on social constructedness by using and undermining the specific context of the male homosocial world. What served as the cure-all in the world of Pickwick – the homosocial bond – has here been exported, exposed, and proven flawed. The gothic is out in the open now, and the feared ghost resides without and within the group. The inability of anyone to interpret its signs, communicate its meaning, and rely on one's friends to talk one through it is the horror that cannot be overcome. Part of a larger project on the nineteenth-century ‘tales novel’ that treats the more heterogeneric and less heteronormative Victorian novel, this article examines how In a Glass Darkly and The Three Impostors blur the clear-cut gender division articulated in prior masculine presentations like The Pickwick Papers and feminine reinterpretations such as Cranford. These later texts challenge binaries of sex, speech, genre, and mode in enacting the previously articulated masculine and feminine simultaneously.
