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Download Driven to Madness with Fright: Further Notes on Horror by S. T. Joshi PDF

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By S. T. Joshi

For greater than 30 years, S. T. Joshi has been a pioneering critic of fable, horror, and supernatural fiction. This new number of his essays and studies covers the whole diversity of peculiar fiction, from Romantic poetry to the paintings of Ambrose Bierce, Ray Bradbury, and Shirley Jackson. rather insightful are Joshi's checks of such modern writers as Ramsey Campbell, Caitlin R. Kiernan, Thomas Ligotti, and Reggie Oliver. Joshi, the major authority on H. P. Lovecraft, additionally offers smelly analyses of modern works of Lovecraftian fiction by means of such figures as W. H. Pugmire and Darrell Schweitzer, in addition to incisive stories of contemporary works of Lovecraft scholarship. All in all, this booklet will interact, entertain, and tell all devotees of strange fiction.

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Klein, Thomas Ligotti, Dennis Etchison, and Thomas Tessier. And now that Gothicism has, to some degree, returned to its roots in the small press, such writers as Caitlín R. Kiernan, Norman Partridge, China Miéville, and Laird Barron are only the most prominent of a vibrant new crop of neo-Gothicists. What the present volume demonstrates beyond all doubt is that Gothicism is a mode of writing that writers of many different stripes—whether it be predominantly mainstream writers like Toni Morrison, Peter Ackroyd, Joyce Carol Oates, and Margaret Atwood or genre veterans such as Campbell, King, Straub, Elizabeth Hand, Dan Simmons, Neil Gaiman, and Phil Rickman—can utilize to express themes, conceptions, and imagery beyond the purview of mimetic realism.

In calling George Sterling “minimally talented” Morris overlooks the fact that Sterling is pretty widely regarded as the leading American poet between Longfellow and Edwin Arlington Robinson; his scintillating “A Wine of Wizardry” (1907) is a poetic fantasy surpassed only by the work of Clark Ashton Smith and justifies Bierce’s praise of it.

This movement shares many similarities with the “horror boom” of the 1970s and 1980s, in that it was energized by a quite small number of toweringly original writers and a motley crew of crude imitators who sought to capitalize on the sudden popularity of this literary genre; and there is a further similarity in that the Gothic movement could not in any sense be said to be uniform or monolithic, but quickly fragmented into numerous subgenres and offshoots. The element of supernatural terror was by no means dominant, and Ann Radcliffe (perhaps unwisely) rejected the supernatural altogether in her work, opting instead for what has been called the “explained supernatural,” where supernatural phenomena are suggested but are explained away (oftentimes in a highly unconvincing manner) at the end.

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