Isabela Livino writes fiction with a dark, speculative twist. She studied philosophy at the University of Rochester before receiving a Master’s from the University of Michigan, Ann Arbor. When she is not writing, you can find her riding horses, designing apps, gardening, or watching horror films while cuddling with her fur babies. A native of Pernambuco, Brazil, she currently lives in Connecticut with her husband, their two Caribbean-born adopted coconut retrievers, and the river ducks. You can connect with her on Instagram – @isabelalivino – and her website – isabelalivino.com
Livino sat down with Cemetery Dance to discuss her breakout novel, An Immaculate Deception, weird horror, the author’s early influences, and the exploration of human psychology in gothic fiction.
(Interview conducted by Haley Newlin)
CEMETERY DANCE: In the introduction of An Immaculate Deception, you share that the Gothic literary tradition inspired this book. What were some of the first Gothic titles you read that really stood out to you? Do you remember initial genre conventions or tropes that appealed to you most?
ISABELA LIVINO: Mexican Gothic was the first Gothic horror book I read and I really fell in love with it. I loved the ‘weird horror’ elements: the mushrooms sprouting out of the moldy walls, for instance. The uncanny and weird elements blended with the classic themes of isolation and decay really well, and it all felt very refreshing and original.
Mexican Gothic is an all-time favorite book of mine, too. I read it right after We Have Always Lived in the Castle, and it was the perfect sort of double feature. You also mention the influence of Dante’s Inferno in the introduction, which is referenced throughout An Immaculate Deception. The scene where Madalena recites it in full is so unsettling. How did Inferno help you shape this story or specific characters?
It wasn’t something I planned initially. Inferno passages just came to me as I was writing, and it naturally integrated into the plot because of the themes of religious horror, sin, and punishment. Over the course of many revisions, I added more and more Inferno references until it became a recurring theme. I think these passages helped make the story more atmospheric and vivid.
One of the standout elements of Gothic horror is the atmosphere and setting. What was the process like in building Leandro’s sprawling and isolated home?
It was a gradual process. We’re in the Fazenda Santa Tereza the majority of the story, so over time, as I wrote and revised, I visualized various rooms of the house so that the property became more and more fleshed out. Staying in the same house most of the novel creates a claustrophobic, trapped feel.
How did your background in cognitive science assist you in writing the psychological tension in An Immaculate Deception?
I’ve always been fascinated by human psychology. While writing the story, themes came out pertaining to the conscious versus unconscious mind, repression, and the interaction between memory and trauma. These are all things I studied as part of my cognitive science minor in college, but in the story I approached them from a 19th-century lens.
What are some Gothic and historical horror books you’d recommend? Any films?
Definitely Mexican Gothic as a great intro to Gothic horror. Film-wise, I love Nosferatu and The Witch, both historical horrors by Robert Eggers.
An Immaculate Deception is available now.
