The novel begins in Monte Carlo, where our heroine is swept off her feet by the dashing widower Maxim de Winter and his sudden proposal of marriage. Orphaned and working as a lady’s maid, she can barely believe her luck. It is only when they arrive at his massive country estate that she realizes how large a shadow his late wife will cast over their lives–presenting her with a lingering evil that threatens to destroy their marriage from beyond the grave.
First published in 1938, this classic gothic novel is such a compelling read that it won the Anthony Award for Best Novel of the Century.
All children mythologize their birth...So begins the prologue of reclusive author Vida Winter's collection of stories, which are as famous for the mystery of the missing thirteenth tale as they are for the delight and enchantment of the twelve that do exist.
The enigmatic Winter has spent six decades creating various outlandish life histories for herself -- all of them inventions that have brought her fame and fortune but have kept her violent and tragic past a secret. Now old and ailing, she at last wants to tell the truth about her extraordinary life. She summons biographer Margaret Lea, a young woman for whom the secret of her own birth, hidden by those who loved her most, remains an ever-present pain. Struck by a curious parallel between Miss Winter's story and her own, Margaret takes on the commission.
As Vida disinters the life she meant to bury for good, Margaret is mesmerized. It is a tale of gothic strangeness featuring the Angelfield family, including the beautiful and willful Isabelle, the feral twins Adeline and Emmeline, a ghost, a governess, a topiary garden and a devastating fire.
Margaret succumbs to the power of Vida's storytelling but remains suspicious of the author's sincerity. She demands the truth from Vida, and together they confront the ghosts that have haunted them while becoming, finally, transformed by the truth themselves.
The Thirteenth Tale is a love letter to reading, a book for the feral reader in all of us, a return to that rich vein of storytelling that our parents loved and that we loved as children. Diane Setterfield will keep you guessing, make you wonder, move you to tears and laughter and, in the end, deposit you breathless yet satisfied back upon the shore of your everyday life.
Orphaned at an early age, Philip Ashley is raised by his benevolent older cousin, Ambrose. Resolutely single, Ambrose delights in Philip as his heir, a man who will love his grand home as much as he does himself. But the cosy world the two construct is shattered when Ambrose sets off on a trip to Florence. There he falls in love and marries - and there he dies suddenly. Jealous of his marriage, racked by suspicion at the hints in Ambrose's letters, and grief-stricken by his death, Philip prepares to meet his cousin's widow with hatred in his heart. Despite himself, Philip is drawn to this beautiful, sophisticated, mysterious Rachel like a moth to the flame. And yet... might she have had a hand in Ambrose's death?
Such wonderful children. Such a beautiful mother. Such a lovely house. Such endless terror! It wasn't that she didn't love her children. She did. But there was a fortune at stake—a fortune that would assure their later happiness if she could keep the children a secret from her dying father. So she and her mother hid her darlings away in an unused attic. Just for a little while. But the brutal days swelled into agonizing years. Now Cathy, Chris, and the twins wait in their cramped and helpless world, stirred by adult dreams, adult desires, served a meager sustenance by an angry, superstitious grandmother who knows that the Devil works in dark and devious ways. Sometimes he sends children to do his work—children who—one by one—must be destroyed.... 'Way upstairs there are four secrets hidden. Blond, beautiful, innocent struggling to stay alive....'
First published in French as a serial in 1909, The Phantom of the Opera is a riveting story that revolves around the young, Swedish Christine Daaé. Her father, a famous musician, dies, and she is raised in the Paris Opera House with his dying promise of a protective angel of music to guide her. After a time at the opera house, she begins hearing a voice, who eventually teaches her how to sing beautifully. All goes well until Christine's childhood friend Raoul comes to visit his parents, who are patrons of the opera, and he sees Christine when she begins successfully singing on the stage. The voice, who is the deformed, murderous 'ghost' of the opera house named Erik, however, grows violent in his terrible jealousy, until Christine suddenly disappears. The phantom is in love, but it can only spell disaster.
Leroux's work, with characters ranging from the spoiled prima donna Carlotta to the mysterious Persian from Erik's past, has been immortalized by memorable adaptations. Despite this, it remains a remarkable piece of Gothic horror literature in and of itself, deeper and darker than any version that follows.
Librarian note: Alternate covers can be found here and here.
'In one moment, every drop of blood in my body was brought to a stop... There, as if it had that moment sprung out of the earth, stood the figure of a solitary Woman, dressed from head to foot in white'
The Woman in White famously opens with Walter Hartright's eerie encounter on a moonlit London road. Engaged as a drawing master to the beautiful Laura Fairlie, Walter becomes embroiled in the sinister intrigues of Sir Percival Glyde and his 'charming' friend Count Fosco, who has a taste for white mice, vanilla bonbons, and poison. Pursuing questions of identity and insanity along the paths and corridors of English country houses and the madhouse, The Woman in White is the first and most influential of the Victorian genre that combined Gothic horror with psychological realism.
Matthew Sweet's introduction explores the phenomenon of Victorian 'sensation' fiction, and discusses Wilkie Collins's biographical and societal influences. Included in this edition are appendices on theatrical adaptations of the novel and its serialisation history.
A grim and gothic new tale from author Alix E. Harrow about a small town haunted by secrets that can't stay buried and the sinister house that sits at the crossroads of it all.
Eden, Kentucky, is just another dying, bad-luck town, known only for the legend of E. Starling, the reclusive nineteenth-century author and illustrator who wrote The Underland--and disappeared. Before she vanished, Starling House appeared. But everyone agrees that it’s best to let the uncanny house―and its last lonely heir, Arthur Starling―go to rot.
Opal knows better than to mess with haunted houses or brooding men, but an unexpected job offer might be a chance to get her brother out of Eden. Too quickly, though, Starling House starts to feel dangerously like something she’s never had: a home.
As sinister forces converge on Starling House, Opal and Arthur are going to have to make a dire choice to dig up the buried secrets of the past and confront their own fears, or let Eden be taken over by literal nightmares.
If Opal wants a home, she’ll have to fight for it.
You can find the redesigned cover of this edition HERE.
At the centre of this novel is the passionate love between Catherine Earnshaw and Heathcliff - recounted with such emotional intensity that a plain tale of the Yorkshire moors acquires the depth and simplicity of ancient tragedy.
This best-selling Norton Critical Edition is based on the 1847 first edition of the novel. For the Fourth Edition, the editor has collated the 1847 text with several modern editions and has corrected a number of variants, including accidentals. The text is accompanied by entirely new explanatory annotations.
New to the fourth Edition are twelve of Emily Bronte's letters regarding the publication of the 1847 edition of Wuthering Heights as well as the evolution of the 1850 edition, prose and poetry selections by the author, four reviews of the novel, and poetry selections by the author, four reviews of the novel, and Edward Chitham's insightful and informative chronology of the creative process behind the beloved work.
Five major critical interpretations of Wuthering Heights are included, three of them new to the Fourth Edition. A Stuart Daley considers the importance of chronology in the novel. J. Hillis Miller examines Wuthering Heights's problems of genre and critical reputation. Sandra M. Gilbert assesses the role of Victorian Christianity plays in the novel, while Martha Nussbaum traces the novel's romanticism. Finally, Lin Haire-Sargeant scrutinizes the role of Heathcliff in film adaptations of Wuthering Heights.
A Chronology and updated Selected Bibliography are also included.
Clare Cassidy is no stranger to murder. A high school English teacher specializing in the Gothic writer R. M. Holland, she teaches a course on it every year. But when one of Clare’s colleagues and closest friends is found dead, with a line from R. M. Holland’s most famous story, “The Stranger,” left by her body, Clare is horrified to see her life collide with the storylines of her favourite literature.
To make matters worse, the police suspect the killer is someone Clare knows. Unsure whom to trust, she turns to her closest confidant, her diary, the only outlet she has for her darkest suspicions and fears about the case. Then one day she notices something odd. Writing that isn't hers, left on the page of an old diary: "Hallo, Clare. You don’t know me."
Clare becomes more certain than ever: “The Stranger” has come to terrifying life. But can the ending be rewritten in time?
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