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only of the experience of pain but also of its overcoming. Riley is a gothic monstrosity, a distillation of the seamier qualities of resort life who, with his ‘dull black morning jacket, the woollen hat, the gloves with the finger ends cut out’ (Hall, 2004: 98) gives off the musty redolence of a Victorian caricature. His grotesqueness is accentuated by his cruelty, by his pathological drinking, and by the squalid quarters he keeps, which have more of the lair about them than reputable offices for business. Yet, on first meeting him, Parks is aware of the

in Twenty-first-century fiction