51 pages 1 hour read

God of Malice

Fiction | Novel | Adult | Published in 2022

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Background

Genre Context: Dark Romance

Dark romance is a subgenre of romance that deals with darker and often more intense feelings meant to unsettle readers. Often combining elements of other genres like thrillers and mysteries, dark romance is a controversial genre because many believe it romanticizes upsetting or taboo subjects such as sexual assault, toxic relationships, abduction, stalking, and murder. Dark romance novels often include extensive content warnings yet appeal to many readers because they explore stories full of emotional intensity. Dark romance novels have garnered significant social media attention, particularly on BookTok, a sub-community of readers on TikTok.

These novels often depict acts of physical and emotional violence and instances of rape or dubious consent, where one of the parties involved is coerced into having sex or their consent is otherwise unclear. Though not all dark romance novels contain such elements, these stories are darker in tone and address the more controversial side of feelings like love, obsession, lust, greed, and power. The characters in these novels tend to range from morally grey to morally black, and their actions often either challenge or disregard socially accepted morals. Like the novels Haunting Adeline, The Ritual, and Lights Out, God of Malice is an example of dark romance that push the boundaries of what people deem acceptable in both romance and literature.

Psychological Context: Antisocial Personality Disorder

Antisocial personality disorder (ASPD) is a mental health disorder characterized by “impulsive, irresponsible and often criminal behaviour” (“Antisocial Personality Disorder.” National Health Service). Though it’s unclear whether any received a formal diagnosis, in the novel Glyndon believes that characters like Killian, Landon, and Creighton fit this definition. The UK’s National Health Service describes a person with ASPD as someone who “will typically be manipulative, deceitful and reckless, and will not care for other people’s feelings,” not unlike these characters in the novel (“Antisocial Personality Disorder”). Symptoms include a lack of concern for others (or their distress) and exploitative behavior, some of the things that characterize Killian (Glyndon’s love interest) in God of Malice. Glyndon and others believe that Killian is incapable of true and honest feelings, particularly love. People around Killian who have seen his evil side often distrust him. ASPD presents with various degrees of intensity, but the novel often conflates Killian’s supposed ASPD with his homicidal tendencies. Killian refers to those who have ASPD as “on the spectrum” (113), a phrase more commonly associated with autism spectrum disorder, while he and other characters in the novel pejoratively call people without darker urges or interests in violence “neurotypical,” creating a false binary that has contentious implications.

Psychological Context: The Suspension Bridge Effect

When Glyndon contemplates her attraction to Killian in God of Malice, for a moment she believes she has fallen victim to what she calls the “suspension bridge effect.” This effect, also described as a misattribution of arousal, is a psychological phenomenon wherein a person misattributes the physical sensations of another emotion, such as fear, to sexual attraction or arousal. Physical symptoms like an increased heart rate and blood pressure occur when one feels fear, anxiety, or sexual arousal, sometimes leading people to confuse these feelings. All of Glyndon’s early sexual interactions with Killian coincide with times she feels extreme fear. Becoming convinced that this is what’s occurring, Glyndon explains to Killian, “I’m pretty sure I don’t want you. I told you. My reaction to you is probably me misjudging fear and anxiety as arousal. Think about it. Every time you touched me, I was scared in some way” (178). However, Killian believes this is just her way of justifying her unwanted attraction to him, something Glyndon later recognizes about herself.

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