"Carmilla" is a Gothic novella by Joseph Sheridan Le Fanu. First published in 1872, it tells the story of a young woman's susceptibility to the attentions of a female vampire named Carmilla. "Carmilla" predates Bram Stoker's Dracula by 25 years and has been adapted many times for cinema.
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In a sleepy little New England village stands a dark, weather-beaten, many-gabled house. This brooding mansion is haunted by a centuries-old curse that casts the shadow of ancestral sin upon the last four members of the distinctive Pyncheon family. Mysterious deaths threaten the living. Musty documents nestle behind hidden panels carrying the secret of the family's salvation, or its downfall. Hawthorne called The House of the Seven Gables "a Romance" and freely bestowed upon it many fascinating gothic touches. A brilliant intertwining of the popular, the symbolic, and the historical, the novel is a powerful exploration of personal and national guilt, a work that Henry James declared "the the closest approach we are likely to have to the Great American Novel".
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The Haunted Baronet Sheridan Le Fanu - The Haunted Baronet is a novella published in 1871 in the Chronicles of Golden Friars, a collection of short stories set in the imaginary English village of Golden Friars. Joseph Thomas Sheridan Le Fanu (28 August 1814 - 7 February 1873) was an Irish writer of Gothic tales and mystery novels. He was the premier ghost story writer of the nineteenth century and had a seminal influence on the development of this genre in the Victorian era.
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Tavistock has cast its spell over generations of visitors. Attractively set between two significant natural barriers, the River Tamar to the west and Dartmoor to the east, residents and visitors today would still recognise the truth of what one impressed tourist wrote in 1892: 'The town has a leisurely and beautiful appearance, and the people do not seem to need to kill themselves and slay each other in the mad rush of life which spoils so many other towns.' However, being relaxed is not the same as being sleepy. The economic and social life of the town has, at each stage of its development, been dynamic. The designation 'Ancient Stannary Town' on the welcoming road signs, for example, is a reminder of the long association with the tin industry, and the oft-quoted description 'The Gothic town of the West' brings to mind the great age of copper mining and the changes to the town centre that accompanied it. This fully illustrated account brings the modern resident and visitor face to face with the factors that have influenced the development of this unique and fascinating corner of Devon.
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The Sisters Of Mercy: die Gründerväter des Gothic Rock Anfang der Achtzigerjahre, beeinflusst vom kühlen Postpunk der damaligen Zeit, entstand in Großbritannien ein neues Musikgenre: Gothic. Nach The Cure, Joy Division und Siouxsie & The Banshees trat 1982 mit den Sisters Of Mercy eine neue Band ins Stroboskoplicht, die diese Musik und das dazugehörige Image entscheidend prägen sollte - und deren Einfluss auf die florierende deutsche Darkwave-Szene der Neunziger gar nicht hoch genug eingeschätzt werden kann. Hinter den Sisters steht bis heute eine der schillerndsten Figuren der Rockszene. Andrew Eldritch gab den eigentlich eher kühl und elektronisch karg aufgebauten Songs seiner Band mit seinem dramatischen Baritongesang eine überraschend emotionale Note, und darüber hinaus stilisierte er sich zum ultimativ geheimnisvollen Gothic-Zeremonienmeister, der nichts von sich preisgab und sich auf der Bühne hinter einer Wand aus Trockeneisnebel versteckte. Über sein Privatleben drang nie etwas an die Öffentlichkeit, und Fotos ohne Sonnenbrille gab es nicht. Eldritch zelebrierte das Mysterium des Rockstars, um es sich gleichzeitig in seiner Musik ironisch zu brechen. Dem Journalisten Mark Andrews ist es nun gelungen, Licht in das von Eldritch so sorgsam gehütete Dunkel zu bringen. Im nordenglischen Leeds, in dem die Sisters zwischen Punk, Glam und Electro ihre ersten Schritte unternahmen, ging er auf eine gründliche Spurensuche und förderte in Interviews mit alten Weggefährten und Musikschaffenden sowie dank Privatkontakte jede Menge neuer Informationen zutage, die selbst eingefleischte Fans überraschen dürften. Sein erhellendes Porträt der frühen Sisters-Jahre zeigt vor allem, wie der Student Andrew Taylor die Kunstfigur Eldritch erfand und den Masterplan hinter den Sisters ausheckte, zeichnet aber auch eine gelungene Skizze der fruchtbaren Musikszene der damaligen Zeit und spart nicht mit amüsanten Anekdoten. Ein Buch, das in der bis heute großen Fangemeinde der Düsterrocker mit großer Spannung erwartet wird!
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From the early misfortunes of Eve, condemning her descendants to a dubious reputation for fruit management, to the acclaimed successes of plant breeders such as the eccentric Ellen Willmott who combined bankruptcy with iris breeding, the fortunes of the female gardener have been as varied as their roles. Telling the tales of the sixteenth-century housewife, who neatly sidestepped accusations of herbal witchcraft while working her plot, and the unconventional Ladies of Llangollen, who eloped together and created their gothic garden and many other women besides, A History of Women in the Garden showcases female horticulturists through the centuries. An enlightening and entertaining read that will allow the reader to gain fresh enthusiasm for even the most menial of garden tasks, and realise that hundreds of women have trod the garden path before.
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'Fantastically moody' SARAH WATERS'A little masterpiece of suspense-filled gothic fiction... Persuasive and mysterious' FINANCIAL TIMES'A beautiful, hallucinatory dream of a novel' J.M. MIRO'Atmospheric... A must-read' i'Intensely lyrical and powerfully haunting' SUSAN STOKES-CHAPMAN'Moody and evocative' KIRKUS'Seductive and unnerving' NAOMI BOOTH __________ There is a beast inside her, a monster. It wants to scream, it wants to tear things apart. 1816. Mary, eighteen years old, is staying in a villa on Lake Geneva with her lover Percy Shelley. She is tormented by his infidelities; haunted by the loss of her baby daughter. Then one evening with friends, as storms rage outside and laudanum stirs their imaginations, Lord Byron challenges everyone to write a ghost story, and something fierce and wild awakens in Mary. Memories surface of the long, strange summer she once spent with a family in Scotland, where she found herself falling in love with the enigmatic Isabella Baxter. She learned tales of mythical beasts, witches and spirits. And she encountered real monsters - both in the rocky wilds, and far, far closer to home... Illuminating the past like a flash of lightning, this brilliant reimagining of the birth of Frankenstein takes us into a feverish world of waking dreams-where grief mingles with desire, and the veil between beauty and horror grows thin.
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Nightmare Abbey Thomas Love Peacock - Nightmare Abbey is an 1818 novella by Thomas Love Peacock which makes good-natured fun of contemporary literary trends. Nightmare Abbey was Peacock's third long work of fiction to be published. It was written in late March and June 1818, and published in London in November of the same year. The novella was lightly revised by the author in 1837 for republication in Volume 57 of Bentley's Standard Novels. The book is Peacock's most well-liked and frequently-read work. The novel was a topical work of Gothic fiction in which the author satirised tendencies in contemporary English literature, in particular Romanticism's obsession with morbid subjects, misanthropy and transcendental philosophical systems. Most of its characters are based on historical figures whom Peacock wished to pillory. It has been observed that "the plots of Peacock's novels are mostly devices for bringing the persons together and the persons are merely the embodiment of whims and theories, or types of a class". Nightmare Abbey embodies the critique of a particular mentality and pillories the contemporary vogue for the macabre. To his friend Percy Bysshe Shelley, Peacock described the object of his novel as being "to bring to a sort of philosophical focus a few of the morbidities of modern literature". Appearing in the same year as Northanger Abbey, it similarly contrasts the product of the inflamed imagination, or what Peacock's Mr Hilary describes as the "conspiracy against cheerfulness", with the commonplace course of everyday life, with the aid of light-hearted ridicule. Several of the chapters take a dramatic form interspersed with stage directions in order to illustrate without comment how much the speakers characterise themselves through their conversation. The actor and director Anthony Sharp was eventually to take this approach to its logical conclusion and reduced the whole novel to a successful and popular script. First performed in February 1952, it was eventually published in 1971.
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