at the University of Manchester is the Latin motto Arduus ad solem (‘Striving towards the sun’). This Enlightenment credo refers to several myths – for instance, that of Icarus, who flew towards the sun and fell as the wax in his wings melted. Also lurking on this spot is Mary Shelley’s Frankenstein: ‘Rutherford’s room’, in Manchester University, has been investigated, as, in the past, some of those who inhabited offices above, below, and to the sides, died of cancer. In this we can read another old and strong myth related to Victor Frankenstein – that of
Manchester: Something rich and strange challenges us to see the quintessential post-industrial city in new ways. Bringing together twenty-three diverse writers and a wide range of photographs of Greater Manchester, it argues that how we see the city can have a powerful effect on its future – an urgent question given how quickly the urban core is being transformed. The book uses sixty different words to speak about the diversity of what we think of as Manchester – whether the chimneys of its old mills, the cobbles mostly hidden under the tarmac, the passages between terraces, or the everyday act of washing clothes in a laundrette. Unashamedly down to earth in its focus, this book makes the case for a renewed imaginative relationship that recognises and champions the fact that we’re all active in the making and unmaking of urban spaces.
Gautier, Edgar Allan Poe, Guy de Maupassant, H.P. Lovecraft, Jorge Luis Borges and Julio Cortázar, with canonical novels of the fantastic including The Castle of Otranto by Horace Walpole, Mary Shelley's Frankenstein , Bram Stoker's Dracula and Shirley Jackson's The Haunting of Hill House , to name but a representative few. In contrast to the all-inclusive North American paradigm of the fantastic as an umbrella term for any deviation from realism, with a scope that includes myths, fairy tales, magical realism and science fiction, European theorists such as Pierre