fiction known as Gothic horror. First featured in Horace Walpole's The Castle of Otranto, Gothic horror combines elements of the Gothic and Romantic genres to create a pleasurably terrifying experience. Frankenstein, The Strange Case of Dr. Jekyll and Mr. Hyde, and Stoker's Dracula are all considered landmarks of Gothic horror fiction. Though it increased in popularity in the nineteenth century, elements of Gothic horror have appeared in more contemporary works, influencing authors from Edgar Allan Poe to Stephen King. The genre is marked by supernatural occurrences, gloomy settings, violent emotions, terror, and threatening villains, all of which appear in The Jewel of Seven Stars. The villains are themselves supernatural in some way; the abundance of mummy fiction in late Victorian literature is closely linked to this genre. Style Stoker's writing style is often overlooked, as he is seen as more of a genre writer due to his mastery of the horror novel than a literary author. Most of his writings are still unknown; in an interview with Stoker's grandnephew, this is attributed to the fact that "Stoker never had time to perfect his style in the numerous novels and stories he wrote…most of the rest of his product remains unreadable and inept. Some of it, in fact, is so bad that it has been mistaken for burlesque". However, scholars of Stoker's forgotten works contest this, arguing that Stoker was much more than a genre author writing for "chills and thrills". In a review of a collection of Stoker's lesser-known writing, critic Colin Fleming explains, "there’s no easy category to dump [Stoker] in, and the one he’s in—Scary Writer Guy—is limiting". Fleming classifies Stoker's style as Gothic as well as Modernist, pointing out Modernistic elements such as non-linear narrative and referring to his works as "collage art": a combination of voices from a variety of sources that make up a single text. This idea of collage is represented in the journalistic interludes and alternating voices in The Jewel of Seven Stars; at two points, the story breaks away from Malcolm's narration and takes on the voice of first Nicholas Van Huyn, through a retelling of his novel, and then Corbeck's extensive story about finding Tera's tomb. Stoker's style was arguably a product of his background in the theatre, working as business manager to theatre legend Henry Irving and running the Lyceum Theatre for twenty-seven years. Wynne posits that Stoker's melodramatic tendencies