Why some architects fail to realize their ideal buildings, and what architecture critics can learn from novelists. The usual history of architecture is a grand narrative of soaring monuments and heroic makers. But it is also a false narrative in many ways, rarely acknowledging the personal failures and disappointments of architects. In Bleak Houses, Timothy Brittain-Catlin investigates the underside of architecture, the stories of losers and unfulfillment often ignored by an architectural criticism that values novelty, fame, and virility over fallibility and rejection. As architectural criticism promotes increasingly narrow values, dismissing certain styles wholesale and subjecting buildings to a Victorian litmus test of “real” versus “fake,” Brittain-Catlin explains the effect this superficial criticality has had not only on architectural discourse but on the quality of buildings. The fact that most buildings receive no critical scrutiny at all has resulted in vast stretches of ugly modern housing and a pervasive public illiteracy about architecture.
NEW YORK TIMES BESTSELLER • “Stranger Things meets the South. Chilling, hilarious, and suspenseful—I loved it!”—Felicia Day From the authors of Rhett & Link's Book of Mythicality and creators of Good Mythical Morning . . . It’s 1992 in Bleak Creek, North Carolina—a sleepy little place with all the trappings of an ordinary Southern town: two Baptist churches, friendly smiles coupled with silent judgments, and an unquenchable appetite for pork products. Beneath the town’s cheerful façade, however, Bleak Creek teens live in constant fear of being sent to the Whitewood School, a local reformatory with a history of putting unruly youths back on the straight and narrow—a record so impeccable that almost everyone is willing to ignore the suspicious deaths that have occurred there over the past decade. At first, high school freshmen Rex McClendon and Leif Nelson believe what they’ve been told: that the students’ strange demises were all just tragic accidents, the unfortunate consequence of succumbing to vices like Marlboro Lights and Nirvana. But when the shoot for their low-budget horror masterpiece, PolterDog, goes horribly awry—and their best friend, Alicia Boykins, is sent to Whitewood as punishment—Rex and Leif are forced to question everything they know about their unassuming hometown and its cherished school for delinquents. Eager to rescue their friend, Rex and Leif pair up with recent NYU film school graduate Janine Blitstein to begin piecing together the unsettling truth of the school and its mysterious founder, Wayne Whitewood. What they find will leave them battling an evil beyond their wildest imaginations—one that will shake Bleak Creek to its core. Praise for The Lost Causes of Bleak Creek “The Lost Causes of Bleak Creek is like your best friend from high school—kind of weird and a little twisted, but no matter how much trouble they caused, they always made you laugh. You don’t have to be a GMM fan to realize . . . The Lost Causes of Bleak Creek, Will It Awesome Book? F@*# yeah!”—Kurt Sutter, creator of Sons of Anarchy “Most people don’t read books, let alone write them. That puts Rhett and Link in the top 1% of smart people in the world. Read this book.”—Rachel Bloom, co-creator of Crazy Ex-Girlfriend “It’s scary, it’s fun, and it’s one hell of a carnival ride.”—Kirkus Reviews
Why some architects fail to realize their ideal buildings, and what architecture critics can learn from novelists. The usual history of architecture is a grand narrative of soaring monuments and heroic makers. But it is also a false narrative in many ways, rarely acknowledging the personal failures and disappointments of architects. In Bleak Houses, Timothy Brittain-Catlin investigates the underside of architecture, the stories of losers and unfulfillment often ignored by an architectural criticism that values novelty, fame, and virility over fallibility and rejection. As architectural criticism promotes increasingly narrow values, dismissing certain styles wholesale and subjecting buildings to a Victorian litmus test of “real” versus “fake,” Brittain-Catlin explains the effect this superficial criticality has had not only on architectural discourse but on the quality of buildings. The fact that most buildings receive no critical scrutiny at all has resulted in vast stretches of ugly modern housing and a pervasive public illiteracy about architecture.
Beginning its life as the sensational entertainment of the eighteenth century, the novel has become the major literary genre of modern times. Drawing on hundreds of examples of famous novels from all over the world, Marina MacKay explores the essential aspects of the novel and its history: where novels came from and why we read them; how we think about their styles and techniques, their people, plots, places, and politics. Between the main chapters are longer readings of individual works, from Don Quixote to Midnight's Children. A glossary of key terms and a guide to further reading are included, making this an ideal accompaniment to introductory courses on the novel.
Novel Houses' visits unforgettable dwellings in twenty legendary works of English and American fiction. Each chapter stars a famous novel in which a dwelling is pivotal to the plot, and reveals how personally significant that place was to the writer who created it.0We discover Uncle Tom's Cabin's powerful influence on the American Civil War, how essential 221B Baker Street was to Sherlock Holmes and the importance of Bag End to the adventuring hobbits who called it home. It looks at why Bleak House is used as the name of a happy home and what was on Jane Austen's mind when she worked out the plot of Mansfield Park. Little-known background on the dwellings at the heart of Emily Brontë's Wuthering Heights, Mervyn Peake's Gormenghast and Stella Gibbon's Cold Comfort Farm emerges, and the real life settings of Daphne du Maurier's Rebecca and E.M. Forster's Howards End, so fundamental to their stories, are shown to relate closely to their authors' passions and preoccupations. 0A winning combination of literary criticism, geography and biography, this is an entertaining and insightful celebration of beloved novels and the extraordinary role that houses grand and small, imagined and real, or unique and ordinary, play in their continuing popularity.
From an unrestored masterpiece such as the Aiken-Rhett House in Charleston, South Carolina, to a farmhouse in upstate New York, inhabited only by a bird nesting in the bathroom sink, Old Houses profiles 20 houses whose peeling paint, faded fabrics, and antique furniture impart a surprising elegance and beauty. An unusual volume, this book will appeal to historians, restoration specialists, and style-conscious homeowners lookingfor new ideas form examples of the past. Over 250 full-color photographs.
This is the first major full-length study of Victorian Gothic fiction. Combining original readings of familiar texts with a rich store of historical sources, A Geography of Victorian Gothic Fiction is an historicist survey of nineteenth-century Gothic writing--from Dickens to Stoker, Wilkie Collins to Conan Doyle, through European travelogues, sexological textbooks, ecclesiastic histories and pamphlets on the perils of self-abuse. Critics have thus far tended to concentrate on specific angles of Gothic writing (gender or race), or the belief that the Gothic 'returned' at the so-called fin de siècle. Robert Mighall, by contrast, demonstrates how the Gothic mode was active throughout the Victorian period, and provides historical explanations for its development from late eighteenth century, through the 'Urban Gothic' fictions of the mid-Victorian period, the 'Suburban Gothic' of the Sensation vogue, through to the somatic horrors of Stevenson, Machen, Stoker, and Doyle at the century's close. Mighall challenges the psychological approach to Gothic fiction which currently prevails, demonstrating the importance of geographical, historical, and discursive factors that have been largely neglected by critics, and employing a variety of original sources to demonstrate the contexts of Gothic fiction and explain its development in the Victorian period.
The story of Tom-All-Alone's takes place in the 'space between' two masterpieces of mid-Victorian fiction: Bleak House and The Woman in White - overlapping with them, and re-imagining them for a contemporary reader, with a modern understanding of the grimmer realities of Victorian society. Charles Maddox, dismissed from the police force, is working as a private detective and can only hope to follow in his uncle's formidable footsteps as an eminent thief-taker. On a cold and bright Autumn morning, a policeman calls on Charles at his lodgings with information that may be related to a case he is working on. He goes to a ruined cemetery to find a shallow grave containing the remains of four babies has been discovered. After examining them he concludes they are not related to his investigation, which is to find a young girl abandoned in a workhouse 16 years before, when her mother died. But all is not as it first appears. As he's drawn into another case at the behest of the eminent but feared lawyer, Edward Tulkinghorn, London's sinister underbelly begins to emerge. From the first gruesome murder, Charles has a race against time to establish the root of all evil. Tom's-All-Alone is 'Dickens but darker' - without the comedy, without the caricature, and a style all its own. The novel explores a dark underside of Victorian life that Dickens and Collins hinted at - a world in which young women are sexually abused, unwanted babies summarily disposed of, and those that discover the grim secrets of great men brutally eliminated.
