From this angle, Fra Keeler can be viewed as a critique of the attraction many writers, readers, critics, and scholars have to the clichéd glamor of evil, who fetishize the gorgeous anguish associated with men struggling with mental illness. And once we make this connection between novels that revel in spectacles of madness to the male violence at its roots (see Raskolnikov, Humbert, et al), and after we acknowledge that readers thrill to such spectacles and scholars add them to the canon – should this not prick at the conscience and urge us to examine our tastes?
Sure, it may only be fiction. But our enjoyment of it says a lot. Avoiding this issue seems to do ourselves and these male characters (and their male shadows in the real world), a disservice, waiting as it were for the next male-ghoul to be put on mad-parade in front of us to jab and laugh at as we turn the page — while pretending we’re actually learning more about the glory, jest, and riddle of the world.