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As a global organisation, we, like many others, recognize the significant threat posed by the coronavirus. During this time, we have made some of our learning resources freely accessible. Our distribution centres are open and orders can be placed online. Do be advised that shipments may be delayed due to extra safety precautions implemented at our centres and delays with local shipping carriers. The Gothic tale has been with us for over two hundred years, but this collection is the first to illustrate the continuing strength of this special fictional tradition from its origins in the late eighteenth century.
Gothic fiction is generally identified from Horace Walpole's Castle of Otranto and the works of Ann Radcliffe, and with heroes and heroines menaced by feudal villains amid crumbling ruins. While the repertoire of claustrophobic settings, gloomy themes, and threatening atmosphere established the Gothic genre, later writers from Poe onwards achieved an ever greater sophistication, and a shift in emphasis from cruelty to decadence. Modern Gothic is distinguished by its imaginative variety of voice, from the chilling depiction of a disordered mind to the sinister suggestion of vampirism.
This anthology brings together the work of writers such as Le Fanu, Hawthorne, Hardy, Faulkner, and Borges with their earliest literary forebears, and emphasizes the central role of women writers from Anna Laetitia Aikin to Isabel Allende and Angela Carter. While the Gothic tale shares some characteristics with the ghost story and tales of horror and fantasy, the present volume triumphantly celebrates the distinctive features that define this powerful and unsettling literary form.
Beginnings II. The Twentieth Century. Review from previous edition the perfect book to put beside the bed of a timorous guest you wish would go home - The Economist. Armed with this anthology Deliciously unsettling. Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide.
Academic Skip to main content. Search Start Search. Choose your country or region Close. Dear Customer, As a global organisation, we, like many others, recognize the significant threat posed by the coronavirus. Please contact our Customer Service Team if you have any questions. Review from previous edition the perfect book to put beside the bed of a timorous guest you wish would go home - The Economist a sumptuous spread of eeriness, horror and decay, plus an astute introduction that lays bare the gothic's vitals Also of Interest.
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The Oxford Book of Gothic Tales
The Oxford Book of Gothic Tales. Was he mad, or was I idiotically incredulous? For--and it is this thing that haunts me--when I found them dead together in the vault, she had been buried five weeks. But the body that lay in John Hurst's arms, among the mouldering coffins of the Hursts of Hurstcote, was perfect and beautiful as when he first clasped her to his arms, a bride.
The Oxford Book of Gothic Tales. Brimming with tales of terror, suspense, and the uncanny, with dark castles and even gloomier monasteries, The Oxford Book of Gothic Tales offers the first such collection devoted to this spine-tingling genre. Though Gothic fiction has generally been identified with Walpole's"Castle of Otranto" and the works of Ann Radcliffe, these thirty-seven selections compiled by Chris Baldick provide a unique look at the genre's development into its present-day forms. We see standard gothic elements of incest, murder, and greed in "The Poisoner of Montremos," a late eighteenth-century story by Richard Cumberland.