Graeme Davis – författare

The most spine-tingling suspense stories from the colonial era—including Washington Irving, Nathaniel Hawthorne, James Fenimore Cooper, Edgar Allan Poe, Henry James, and H. P. Lovecraft, and many more

This stunning anthology of classic colonial suspense fiction plunges deep into the native soil from which American horror literature first sprang. While European writers of the Gothic and bizarre evoked ruined castles and crumbling abbeys, their American counterparts looked back to the colonial era’s stifling religion, and its dark and threatening woods.

Today the best-known tale of colonial horror is Washington Irving’s The Legend of Sleepy Hollow, although Irving’s story is probably best known today from various movie versions it has inspired. Colonial horror tales of other prominent American authors—Nathaniel Hawthorne and James Fenimore Cooper among them—are overshadowed by their bestsellers, and are difficult to find in modern libraries. Many other pioneers of American horror fiction are presented afresh in this breathtaking volume for today’s public readers.

Some will have heard the names of Increase and Cotton Mather in association with the Salem witch trials, but will not have sought out their contemporary accounts of what were viewed as supernatural events. By bringing these writers to the attention of the contemporary readers, this collection will help bring their names—and their work—back from the dead.

This masterful collection of seventeen classic mystery stories, dating from 1837 to 1914, traces the earliest history of popular detective fiction.

Today, the figure of Sherlock Holmes towers over detective fiction like a colossus―but it was not always so. Edgar Allan Poe’s French detective Dupin, the hero of “The Murders in the Rue Morgue,” preceded Holmes’s deductive reasoning by more than forty years with his “tales of ratiocination.” In A Study in Scarlet, the first of Holmes’ adventures, Doyle acknowledged his debt to Poe―and to Émile Gaboriau, whose thief-turned-detective Monsieur Lecoq debuted in France twenty years earlier.

If “Rue Morgue” was the first true detective story in English, the title of the first full-length detective novel is more hotly contested. Two books by Wilkie Collins―The Woman in White (1859) and The Moonstone (1868)―are often given that honor, with the latter showing many of the features that came to identify the genre: a locked-room murder in an English country house; bungling local detectives outmatched by a brilliant amateur detective; a large cast of suspects and a plethora of red herrings; and a final twist before the truth is revealed. Others point to Mary Elizabeth Braddon’s The Trail of the Serpent (1861) or Aurora Floyd (1862), and others still to The Notting Hill Mystery (1862–3) by the pseudonymous “Charles Felix.”

As the early years of detective fiction gave way to two separate golden ages―of hard-boiled tales in America and intricately-plotted, so-called “cozy” murders in Britain―the legacy of Sherlock Holmes, with his fierce devotion to science and logic, gave way to street smarts on the one hand and social insight on the other―but even though these new sub-genres went their own ways, their detectives still required the intelligence and clear-sightedness that characterized the earliest works of detective fiction: the trademarks of Sherlock Holmes, and of all the detectives featured here.

A darkly luminous new anthology collecting the most terrifying horror stories by renowned female authors, presenting anew these forgotten classics to the modern reader

Readers are well aware that Mary Shelley wrote Frankenstein; few know how many other tales of terror she created. In addition to Uncle Tom’s Cabin, Harriet Beecher Stowe wrote some surprisingly effective horror stories. The year after Little Women appeared, Louisa May Alcott published one of the first mummy tales. These ladies weren’t alone. From the earliest days of gothic and horror fiction, women were exploring the frontiers of fear, dreaming dark dreams that will still keep you up at night.

More Deadly than the Male includes unexpected horror tales by Louisa May Alcott and Harriet Beecher Stowe, and forgotten writers like Mary Cholmondely and Charlotte Riddell, whose work deserves a modern audience. Listeners will be drawn in by the familiar names and intrigued by their rare stories.

In The Beckside Boggle, Alice Rea brings a common piece of English folklore to hair-raising life, while Helene Blavatsky, best known as the founder of the spiritualist Theosophical Society, conjures up a solid and satisfying ghost story in The Cave of the Echoes. Edith Wharton’s great novel The Age of Innocence won her the Pulitzer prize, yet her horror stories are known only to a comparative few.

Listeners will discover lost and forgotten women who wrote horror every bit as effectively as their male contemporaries. They will learn about their lives and careers, the challenges they faced as women working in a male-dominated field, the way they overcame those challenges, and the way they approached the genre―which was often subtler, more psychological, and more disturbing.

Ce volume analyse le rapport étroit qui existe entre la structuration des connaissances et l’évolution terminologique et langagière dans la presse scientifique française, en tant que genre textuel, au cours des quarante premières années du XVIIIe siècle. L’auteur part de l’hypothèse que, pendant certaines périodes complexes de l’histoire des sciences, l’évolution de la langue et l’évolution des connaissances sont liées à un genre textuel novateur utilisé au sein de la communauté savante. Ces évolutions se réalisent notamment lorsque les domaines scientifiques sont impliqués au niveau linguistique dans une nécessité de systématisation du vocabulaire témoignant de l’adoption progressive de structures nouvelles de la pensée.

Cet ouvrage reconstruit la naissance du genre de la presse scientifique périodique en France qui participe à plein titre à la construction des réseaux conceptuels des sciences modernes, ainsi qu’à leur stabilisation et à l’usage des terminologies scientifiques modernes. Le choix des domaines de la botanique et de la chimie repose sur leur reconnaissance en tant que sciences à part entière en dehors des finalités médicales et thérapeutiques auxquelles elles ont été longtemps confinées par les savants. Par conséquent, de nouveaux besoins de dénomination découlent du positionnement de ces champs disciplinaires au sein de la topologie des savoirs scientifiques.