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Women's Ghost Literature in Nineteenth-Century Britain
Nineteenth-century ghost literature by women shows the Gothic becoming more experimental and subversive as its writers abandoned the stereotypical Gothic heroines of the past in order to create more realistic, middle-class characters (both living and dead, male and female) who rage against the limits imposed on them by the natural world. The ghosts of Female Gothic thereby become reflections of the social, sexual, economic and racial troubles of the living. Expanding the parameters of Female Gothic and moving it into the nineteenth and twentieth centuries allows us to recognise women’s ghost literature as a specific strain of the Female Gothic that began not with Ann Radcliffe, but with the Romantic Gothic ballads of women in the first decade of the nineteenth century.
Avenging Angels: Ghost Stories by Victorian Women Writers
In this electrifying collection, Melissa Edmundson showcases ten authors who led lives that challenged Victorian notions of how women should behave and brought those transgressive ideas into their fiction.
Women's Weird
A ground-breaking collection of the best Weird short stories by women from the late nineteenth and early twentieth centuries.
Women’s Colonial Gothic Writing, 1850-1930
This book explores women writers’ involvement with the Gothic. The author sheds new light on women’s experience, a viewpoint that remains largely absent from male-authored Colonial Gothic works. The book investigates how women writers appropriated the Gothic genre—and its emphasis on fear, isolation, troubled identity, racial otherness, and sexual deviancy—in order to take these anxieties into the farthest realms of the British Empire. The chapters show how Gothic themes told from a woman’s perspective emerge in unique ways when set in the different colonial regions that comprise the scope of this book: Canada, the Caribbean, Africa, India, Australia, and New Zealand. Edmundson argues that women’s Colonial Gothic writing tends to be more critical of imperialism, and thereby more subversive, than that of their male counterparts. This book will be of interest to students and academics interested in women’s writing, the Gothic, and colonial studies.
The House of Silence
E Nesbit was one of the great British Edwardian storytellers, whom we now remember most for her children's novels. But she wrote ghost stories prolifically for adults, her imagination focused on the detail of the domestic to draw out horror, chills and delight. Revel in the dark side of Victorian and Edwardian England, where visiting a house of strangers becomes a trial of nerve, and rediscovering the past leads you into strange and terrifying places. Melissa Edmundson, a noted authority on supernatural writing from this period and the curator of Women's Weird and Women's Weird 2, has selected the best of E Nesbit's short scary fiction for this new Handheld Classic.
Women's Weird 2
Following the success of Handheld Press's 2019 best-selling anthology Women's Weird, we will be publishing a second anthology of classic Weird short fiction by women authors. Women's Weird 2 will contain thirteen remarkably chilling stories originally published from 1891 to 1937, by women authors from the USA, Canada, the UK, India and Australia. Featured stories will include:Lettice Galbraith's 'The Blue Room' (1897)Barbara Baynton's 'A Dreamer' (1902)Katherine Mansfield's 'The House' (1912)Bithia Mary Croker's 'The Red Bungalow' (1919)Marjorie Bowen's 'Florence Flannery' (1924)L M Montgomery's 'The House Party at Smoky Island' (1934)Stella Gibbons' 'The Roaring Tower' (1937)Melissa Edmundson's introduction will explore how the evolving Weird tradition was interpreted using colonial settings, and focus on how Weird fitted naturally into the careers of writers like Montgomery (Anne of Green Gables) and Gibbons (Cold Comfort Farm) who were not normally considered exponents of supernatural fiction.
Gothic Animals
This book begins with the assumption that the presence of non-human creatures causes an always-already uncanny rift in human assumptions about reality. Exploring the dark side of animal nature and the ‘otherness’ of animals as viewed by humans, and employing cutting-edge theory on non-human animals, eco-criticism, literary and cultural theory, this book takes the Gothic genre into new territory. After the dissemination of Darwin’s theories of evolution, nineteenth-century fiction quickly picked up on the idea of the ‘animal within’. Here, the fear explored was of an unruly, defiant, degenerate and entirely amoral animality lying (mostly) dormant within all of us. However, non-humans and humans have other sorts of encounters, too, and even before Darwin, humans have often had an uneasy relationship with animals, which, as Donna Haraway puts it, have a way of ‘looking back’ at us. In this book, the focus is not on the ‘animal within’ but rather on the animal ‘with-out’: other and entirely incomprehensible.
From the Abyss
D K Broster's Weird fiction has long been forgotten, but she wrote some of the most impressive British supernatural short stories published between the wars. Melissa Edmundson, editor of Women's Weird, Women's Weird 2, and Helen Simpson's The Outcast and The Rite, all published by Handheld, has curated a selection of Broster's best and most terrifying work. From the Abyss contains twelve stories, including: 'The Window', in which a soldier wanders into a deserted chateau, which does not approve. 'The Pavement', in which the protectress of a Roman mosaic cannot bear to let her burden go. 'The Taste of Pomegranates' draws two women into the very, very far-off past. 'From the Abyss', in which two lost women may be the same person. 'Clairvoyance', in which the ornamental weaponry in Strode Manor is more than merely decoration.
The Outcast and the Rite
The Australian novelist and playwright Helen de Guerry Simpson (1897-1940) published many supernatural short stories. This new edition selects the best of her unsettling writing, adding some little-known stories to her 1925 collection The Baseless Fabric (1925). Featured stories include:* 'An Experiment of the Dead', in which a visitor comes to visit a woman in the condemned cell.* 'Good Company', in which a traveller in Italy becomes temporarily possessed of a hitchhiker in her mind.* 'Grey Sand and White Sand' is the horrifying story of a landscape artist who sees and paints a different view.* 'The Outcast', in which a soldier left for dead in the War takes his revenge on his village.* 'Th...
The Villa and The Vortex
Elinor Mordaunt was the pen name of Evelyn May Clowes (1872-1942), a prolific and popular novelist and short story writer, working in Australia and Britain in the first thirty-five years of the twentieth century.Melissa Edmundson has curated this selection of the best of Mordaunt's supernatural short fiction, which blend the technologies and social attitudes of modernity with the classic supernatural tropes of the ghost, the haunted house, possession, conjuration from the dead and witchcraft. Each story is an original and compelling contribution to the genre, making this selection a marvellous new showcase for women's writing in classic supernatural fiction.
