In a tale of ancient evil, Bram Stoker creates a world of lurking horrors and bizarre denizens: a demented mesmerist, hellbent on mentally crushing the girl he loves; a gigantic kite raised to rid the land of an unnatural infestation of birds, and which receives strange commands along its string; and all the while, the great white worm slithers below, seeking its next victim...
This volume highlights humour’s crucial role in shaping historical re-visions of the long nineteenth century, through modes ranging from subtle irony, camp excess, ribald farce, and aesthetic parody to blackly comic narrative games. It analyses neo-Victorian humour’s politicisation, its ideological functions and ethical implications across varied media, including fiction, drama, film, webcomics, and fashion. Contemporary humour maps the assumed distance between postmodernity and its targeted nineteenth-century referents only to repeatedly collapse the same in a seemingly self-defeating nihilistic project. This collection explores how neo-Victorian humour generates empathy and effective socio-political critique, dispensing symbolic justice, but also risks recycling the past’s invidious ideologies under the politically correct guise of comic debunking, even to the point of negating laughter itself. "This rich and innovative collection invites us to reflect on the complex and various deployments of humour in neo-Victorian texts, where its consumers may wish at times that they could swallow back the laughter a scene or event provokes. It covers a range of approaches to humour utilised by neo-Victorian writers, dramatists, graphic novelists and filmmakers – including the deliberately and pompously unfunny, the traumatic, the absurd, the ribald, and the frankly distasteful – producing a richly satisfying anthology of innovative readings of ‘canonical’ neo-Victorian texts as well as those which are potential generic outliers. The collection explores what is funny in the neo-Victorian and who we are laughing at – the Victorians, as we like to imagine them, or ourselves, in ways we rarely acknowledge? This is a celebration of the parodic playfulness of a wide range of texts, from fiction to fashion, whilst offering a trenchant critique of the politics of postmodern laughter that will appeal to those working in adaptation studies, gender and queer studies, as well as literary and cultural studies more generally." - Prof. Imelda Whelehan, University of Tasmania, Australia
Sherlock Holmes and his cousin, Dr Henry Vernier, travel to Whitby, to investigate a curious case on behalf of a client. He has fallen in love, but a mysterious letter has warned him of the dangers of such a romance. The woman is said to be under a druidic curse, doomed to take the form of a gigantic snake. Locals speak of a green glow in the woods at night, and a white apparition amongst the trees. Is there sorcery at work, or is a human hand behind the terrors of Diana’s Grove?
An unstoppable anthology of crime stories culled from Black Mask magazine the legendary publication that turned a pulp phenomenon into literary mainstream. Black Mask was the apotheosis of noir. It was the magazine where the first hardboiled detective story, which was written by Carroll John Daly appeared. It was the slum in which such American literary titans like Dashiell Hammett and Raymond Chandler got their start, and it was the home of stories with titles like “Murder Is Bad Luck,” “Ten Carets of Lead,” and “Drop Dead Twice.” Collected here is best of the best, the hardest of the hardboiled, and the darkest of the dark of America’s finest crime fiction. This masterpiece collection represents a high watermark of America’s underbelly. Crime writing gets no better than this. Featuring • Deadly Diamonds • Dancing Rats • A Prize Fighter Fighting for His Life • A Parrot that Wouldn’t Talk Including • Dashiell Hammett’s The Maltese Falcon as it was originally published • Lester Dent's Luck in print for the first time
Bram Stoker's initial notes and outlines for his landmark horror novel Dracula were auctioned at Sotheby's in London in 1913 and eventually made their way to the Rosenbach Museum and Library in Philadelphia, where they are housed today. Until now, few of the 124 pages have been transcribed or analyzed. This painstaking work reproduces the handwritten notes both in facsimile and in annotated transcription. It also includes Stoker's typewritten research notes and thoroughly analyzes all of the materials, which range from Stoker's thoughts on the novel's characters and settings to a nine-page calendar of events that includes most of the now-familiar story. Ample annotations guide readers through the construction of the novel and the changes that were made to its structure, plot, setting and characters. Nine appendices provide insight into Stoker's personal life, his other works and his early literary influences.
This book deals with the exposing of various impostors and hoaxes. One of Bram Stoker's last works, it is a survey of various charlatans, rogues, and other practitioners of make-believe. With a cheerfully withering eye for their cons, Stoker introduces us to many famous fakers including: royal pretenders (such as Perkin Warbeck, who claimed King Henry VII's throne), the Wandering Jew, John Law, Arthur Orton, women masquerading as men, hoaxers, Chevalier D'eon, the Bisley Boys, and others.
The Lair of the White Worm Bram Stoker - The Lair of the White Worm is aHorrornovel by the Irish writer Bram Stoker. It was first published by Rider and Son of London in 1911[1][2] the year before Stoker's death with colour illustrations by Pamela Colman Smith. The story is based on the legend of the Lambton Worm. It has also been issued as The Garden of Evil.In 1925 a highly abridged and rewritten[clarification needed] form was published.[3] It was shortened by more than 100 pages, the rewritten book having only 28 chapters instead of the original 40. The final eleven chapters were cut down to only five, leading some critics to complain that the ending was abrupt and inconsistent.[4]The Lair of the White Worm was very loosely adapted by Ken Russell into a 1988 film of the same name.The first episode of the German radioDrama"Die Schwarze Sonne", produced by the label LAUSCH, is loosely based on the events of The Lair of the White Worm.[5] The main characters of the radioDramaare also based on the protagonists of the novel and feature in the rest of the episodes even though the plot turns away from Stoker's original story.
