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Political violence in the fiction of William Trevor

, is the long history of Irish struggle against England, a struggle in which Marianne sees Anglo-Irish Willie (and later herself) as being on the side of the Irish. From her somewhat distanced English perspective, Marianne articulates her sense of colonial consequences, describing a kind of original sin from which the misery of the present has flowed: ‘We will never escape the shadows of destruction that pervade Kilneagh’. Kilneagh is ‘like some uncharted region, fearsome and unknown’ (FF 124), turned into a version of the haunted house of Gothic tradition. In a

in William Trevor

copy of Richard Greenow was found at Mary Ward’s bedside in 1920 and that “it was probably one of the last books she read”. It cannot have given her any pleasure’. 37 The place of ‘Farcical History of Richard Greenow’ within the gothic tradition of psychic dualism should be taken seriously. Pearl functions as a kind of vampire or succubus, gradually taking over Dick’s rational faculties; but the

in Gender and warfare in the twentieth century
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Improbable possibilities

, 1990a, 23) This allusion to Mary Shelley’s own birth, which caused the death of her mother Mary Wollstonecraft, helps develop the Frankenstein parallels and Frank, like Shelley’s monster, is the result of an experiment to create an artificial man.10 Sage’s incorporation of Banks’s book into the gothic tradition, however, does not address the important ways in which the novel invokes the gothic only to distance itself from it. Whereas Shelley’s monster resembles Rousseau’s natural man and is a Romantic being capable of sensitive feelings and virtuous actions, Banks

in The grotesque in contemporary British fiction
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Romanticism, the sublime and poetic ignorance

to the Faust narrative, as articulated in Marlowe’s seventeenth-century drama or in Goethe’s early nineteenth-century reworking of the story – as they are in the tradition of the Prometheus myth, which culminates in a novel about the seductions and dangers of hubristic scientific discovery in Mary Shelley’s Frankenstein . And such an anxiety of knowing is central to the larger gothic tradition that is exemplified, for example, in the epistemophobic orientalism of William Beckford’s Vathek (1780), or, rather differently, in the structurally perverse anti

in Ignorance
Generic experimentation in My Life as a Man, The Counterlife, The Facts, Deception and Operation Shylock

Southern Gothic tradition exemplified by Flannery O’Connor or with the modernism of William Faulkner. Others still, such as E.L. Doctorow, Jane Smiley and Tim O’Brien, seem to inhabit a different genre with each new work. In spite of this diversity, critical debate has tended to revolve around a dichotomy (perhaps more perceived than actual) between realism and postmodernism. For enthusiasts of postmodernism, the fiction of writers such as Pynchon and DeLillo is innovative, challenging, subversive, philosophically profound and intellectually rich; according to its

in Philip Roth

, 292. 102 Burns, No Bones, 292. 103 Burns, No Bones, 285. 104 Burns, No Bones, 293. 105 Burns, No Bones, 294. 106 Burns, No Bones, 299. MUP_Schultz_Haunted.indd 162 03/04/2014 12:23 Gothic inheritance and the Troubles 163 Burns, No Bones, 315. Burns, No Bones, 252. Burns, No Bones, 258. Jim Hansen, Terror and Irish Modernism: The Gothic Tradition from Burke to Beckett (Albany, NY: State University of New York Press, 2009), p. 7. 111 Malachi O’Doherty, ‘Don’t talk about the Troubles.’ Fortnight 457 (2008): 12. 112 O’Doherty, ‘Don’t talk about the

in Haunted historiographies
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Rethinking closure in the Victorian novel

‘Bluebeard’ of a husband she mistakenly marries, all draw from preceding and popular forms of fiction from the centuryold suitor of Gothic tradition, through Edgewoth, Burney, and Austen, to the inheritance woes of Dickens, Trollope, and Eliot. The novel’s innovation resides not in its themes, but in the ways that it handles them. The psychologically sadistic husband Gilbert Osmond, for example, does not drown (the usual mode of death in the novel for the heartless aristocratic wastrel – see Steerforth or Grandcourt). Neither does Isabel run away with Caspar Goodwood or

in Discovering Gilgamesh
‘Transformational objects’ and the Gothic fiction of Richard Marsh

the Gothic fiction of Marsh Conclusion Marsh’s three novels belong to a Gothic tradition stretching back to Walpole’s The Castle of Otranto that identifies objects as sites of insecurity and threat. However, Marsh’s work differs from this tradition not only in his depiction of mutual transformation between individuals and objects, in which the form of the object is sponsored by an aspect of the individual as much as his/her selfhood is transformed by the object, but also and more profoundly in the de-structuring capacities of his objects. While mutual

in Richard Marsh, popular fiction and literary culture, 1890–1915

experiments like the royal tombs in Westminster Abbey and the flamboyant Nonsuch Palace were financed by Henry VII and VIII, but a broader impetus for architectural innovation seems not to have taken place until political culture and social change created a mid-sixteenth-century ‘classical moment’ of self-fashioning by the new Tudor courtier class. 5 A strong Gothic tradition, however, took post-Perpendicular forms in such features as staircases and bay windows. Two late medieval trends, the widespread application of battlements and the growth in number or size of towers

in Castles and Colonists