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The threshold between abstraction and materiality
Lisa Mullen

measure by her experiences at the fringes of the French resistance, her guilt over her collaborationist stepfather’s execution, and by this sudden attempt to turn her into a civilised English art student. Rose Macaulay would have agreed with the critics of Casson’s scheme; ‘bombed churches and cathedrals’, she wrote in The Pleasure of Ruins (1953), give us ‘nothing but resentful sadness’. 90 Her own house was destroyed by an incendiary bomb in 1941, and she felt that the Blitz had changed the meaning of ruins for her contemporaries

in Mid-century gothic
Sarah Annes Brown

responsible for the killing of her fiancé, Maurice Duval, by the French Resistance. Thus in both novels a revelation centres round a murder by shooting – the second Mrs de Winter famously discovers that Rebecca was shot by her husband rather than accidentally drowned – although in The Scapegoat one of the doubles is the murderer rather than the victim. Both John and Mrs de Winter only learn about the

in A familiar compound ghost