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Sara B. Elfgren and Mats Strandberg’s teenage witch trilogy
Maria Holmgren Troy

had felt like coming home. Now Anna-Karin knows what he'd meant. Her power makes her feel intoxicated, high.’  57 Later, at a party, Vanessa and Linnéa point out that using magic to make Jari want to have sex with her is unethical and amounts to rape and although she is angry and argues with them she finally stops enchanting him that night. 58 At the end of Cirkeln , Anna-Karin muses on how hard it is to stop herself from using magic when the hatred born of being

in Nordic Gothic
The Books of Blood and the horror of 1980s Britain
Darryl Jones

. The community had a foot on its neck for years. I think the riots were basically historical chickens coming home to roost. 11 In the wake of the Toxteth riots, the Secretary of State for the Environment, Michael Heseltine, visited Liverpool, and was apparently horrified by what he saw, recommending a

in Clive Barker
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Haggard, Stoker and Wilde
Andrew Smith

, because for him ‘it seems to me that to get here again is like coming home’, and he notes of the Blue Mountaineers that they resemble ‘Highlanders’ (p. 59). He recounts to his aunt that ‘I love them already for their splendid qualities, and I am prepared to love them for themselves. I feel, too, that they will love me (and incidentally they are sure to love you)’ (p. 60). This repeated emphasis on love

in Gothic death 1740–1914
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Religion, folklore, Shakespeare
E.J. Clery and Robert Miles

in it after Sun-set, for that one of the Footmen had been almost frighted out of his Wits by a Spirit that appeared to him in the Shape of a black Horse without an Head; to which he added, that about a Month ago one of the Maids coming home late that Way with a Pail of Milk upon her Head, heard such a Rustling among the Bushes that she let it fall. I was taking a Walk in this Place last Night between

in Gothic documents
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Identity and culture in Clive Barker’s ‘The Forbidden’ and Bernard Rose’s Candyman
Brigid Cherry

story Helen feels that she is coming home – significantly at a moment when ‘death had brought the estate to life’ (Barker, 1985 : 29). The Candyman’s lair in the film is an equally maze-like – and thus Gothic – space. It transgresses the boundaries of the individual apartments (even – in a clear use of the doppelgänger trope – becoming one with Helen’s mirror-image condo) and

in Monstrous adaptations