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First Came Fear
Emerging as the dark side of Romanticism, horror is one of literature’s oldest genres. Its history is so diverse it’s sometimes difficult to define. Are moody stories about ghosts and vampires related to gory tales of beasts and zombies? And what about the more realistic terrors of murderous rogues and diabolical doctors? The emotion of fear unifies the 14 stories in First Came Fear: New Tales of Horror. But fear is legion in its varieties. The authors skillfully navigate terror of all types. M.P. Diederich’s “Dressage for Beginners” and Christopher Calix’s “The Wedding Gift” are fine examples of the ghoulish humor tradition while J.P. Whitmer’s “Loved to Death” will fr...
Folked Up
Magic is connected to everything. Good and Evil existing for eternity waiting for those destined to awake from their slumber. The fury of evil becomes impossible to tame once unleashed. Those that try to cross its pathway of destruction require bravery or stupidity to survive. Matty Groves and his girlfriend Sandy have arrived at the Jack-in-the-Green Inn to perform their traditional folklore music. The Inn is a throw back into another century. At the Inn Matty finds a leather-bound tome that is filled with Folk songs from Olde England. Sandy feels excitement as she brushes her fingers over the tome. Upon looking, Sandy and Matty find a song called Matty Groves. Only there is an extra page. At the end of the concert, the Groveses decide to sing Matty Groves, despite the warnings. That was the beginning of catastrophe. Sandy and Matty are pulled apart from each other and thrown into a whole other world. A realm ruled by magic, where witches existed and evil was controlling. Are they strong enough to fight through this new world and find each other again?
Zofloya
The protagonist of Charlotte Dacre’s best known novel, Zofloya, or the Moor (1806) is unique in women’s Gothic and Romantic literature, and has more in common with the heroines of Sade or M.G. Lewis than with those of Ann Radcliffe, Charlotte Smith or Jane Austen. No heroine of Radcliffe or Austen could exult, as Victoria does in this novel, that “there is certainly a pleasure … in the infliction of prolonged torment.” The sexual desires and ambition of Dacre’s protagonist, Victoria, drive her to seduce, torture and murder. Victoria is inspired to greater criminal and illicit acts by a seductive Lucifer, disguised as a Moor, before she too is plunged into an abyss by her demon lo...
Confessions of the Nun of St Omer
Charlotte Dacre’s debut novel Confessions of the Nun of St Omer (1805) was a bestseller in its day, launching the career of a woman who would go on to become one of the nineteenth century’s most notorious female novelists. The work tells the story of the wilful Cazire, who recounts her passionate and destructive youthful adventures from the convent where she now lives in seclusion. Although Dacre’s fame, then and now, rests largely on her sensationalist plots and portrayal of sexually self-possessed female villains, Confessions of the Nun of St. Omer shows a different side to her writing, one that is engaged in the political debate surrounding the French Revolution and eager to uphold ...
Lewis Carroll
Essays om den engelske forfatter og fotograf Lewis Carroll (1832-1898), samt et udvalg af hans portrætfotografier
Brass, Blimps and Bots
The Crystal Peake steampunk competition led to some fantastic submissions. Brass, Blimps and Bots is the end result of the winning stories. Four stories will take you down different paths of adventure and a variety of worlds.
Alice Beyond Wonderland
Alice beyond Wonderland explores the ubiquitous power of Lewis Carroll’s imagined world. Including work by some of the most prominent contemporary scholars in the field of Lewis Carroll studies, all introduced by Karoline Leach’s edgy foreword, Alice beyond Wonderland considers the literary, imaginative, and cultural influences of Carroll’s 19th-century story on the high-tech, postindustrial cultural space of the twenty-first century. The scholars in this volume attempt to move beyond the sexually charged permutations of the "Carroll myth," the image of an introverted man fumbling into literary immortality through his love for a prepubescent Alice. Contributions include an essay comparing Dantean and Carrollian underworlds, one investigating child characters as double agents in untamed lands, one placing Wonderland within the geometrical and algebraic “fourth dimension,” one investigating the visual and verbal interplay of hand imagery, and one exploring the influence of Japanese translations of Alice on the Gothic-Lolita subculture of neo-Victorian enthusiasts. This is a bold, capacious, and challenging work.
Neoclassical Satire and the Romantic School 1780–1830
Die europäische Romantik war nicht nur heterogen und intern zerstritten. Sie hatte sich auch gegen Aufklärung und Klassizismus zu verteidigen, welche um die Zeit der Französischen Revolution weiterlebten. Klassizisten betrachteten die Romantik als Anhäufung abtrünniger »neuer Schulen«, die das Monopol der Classical Tradition bedrohten. Die erbitterten Debatten in Ästhetik und Politik wurden auf beiden Seiten mit den überkommenen Strategien der klassischen »ars disputandi« geführt. Unter schwerstem satirischem Beschuss begann die Romantik, sich als eine Bewegung zu begreifen, und es entstand der problematische Gegensatz von »klassisch« und »romantisch«. Diese Konstruktion war aber unverzichtbar, um die Fronten im Wirrwarr der Stimmen zu klären, und blieb es auch in der Literatur- und Kulturwissenschaft, die auf solche Subsumptionen nicht verzichten kann. Die Classical Tradition, die das Christentum einschließt, erweist sich als ein laufender Prozess von der Antike bis heute.
