James Malcolm Rymer

James Malcolm Rymer (b. 1814–d. 1884) created two of the most influential monsters of 19th-century fiction: Varney the Vampyre and Sweeney Todd. The son of an Edinburgh-born London engraver, Malcolm Rymer, who published poetry and a Gothic novel, Rymer was raised in a working-class literary-artistic family. His brothers Gaven and Chadwick were artists, and his brother Thomas put his engraving skills to criminal use as a serial financial forger. For the penny periodicals magnate Edward Lloyd, Rymer prolifically wrote bestselling serials including Ada, the Betrayed, or, The Murder at the Old Smithy (1843); The Black Monk, or, The Secret of the Grey Turret (1844); Varney, the Vampyre, or, The Feast of Blood (1845–1847); and the Sweeney Todd tale The String of Pearls, a Romance (1846–1847, expanded in 1850 as The String of Pearls, or The Barber of Fleet Street). In the 1850s, Lloyd’s business model changed. Favoring news over fiction, he jettisoned Rymer, who in 1858 took up employment composing serials for Reynolds’s Miscellany, a penny periodical founded by the radical journalist and novelist George W. M. Reynolds. Some of Rymer’s serials of this period, such as the outlaw romances Edith the Captive, or the Robbers of Epping Forest (1861–1862) and its sequel Edith Heron, or the Earl and the Countess (1866), were issued in stand-alone editions by Reynolds’s regular publisher, John Dicks. Rymer also composed essays, short tales, and poetry and served as a periodical editor, including of two of Lloyd’s penny periodicals. Extremely private, he published for the most part anonymously, as “the author of” several of his bestselling penny bloods, and under a variety of pseudonyms, including the anagrams “Malcolm J. Errym” and “Malcolm J. Merry” and “Lady Clara Cavendish.” In the 20th century, while Sweeney Todd’s fame grew, Rymer was largely forgotten, in part because an apocryphal bibliographic tradition erroneously maintained that The String of Pearls and many of his other works were written by another Lloyd employee, Thomas Peckett Prest. Since the 1960s, scholarly interest in penny fiction has brought to light Rymer’s contemporaneous popularity, his complex aesthetics, his often liberal or radical politics, his profound impact on Victorian mass culture, and his work’s vibrant transmedia afterlives.