Nicholas Daly – författare

Is he in heaven?-Is he in hell?That demmed, elusive Pimpernel?Sir Percy Blakeney lives a double life in the England of 1792: at home he is an idle fop and a leader of fashion, but in abroad he is the Scarlet Pimpernel, a master of disguise who saves aristocrats from the guillotine. When the revolutionary French state seeks to unmask him, Percy's estranged, independent wife, Marguerite, unwittingly sets their agent on her husband's track. Percy's escapades, and Marguerite's daring journey to France to save him from the guillotine, keep the reader turning the pages of Baroness Orczy's well-paced romantic adventure. Written in just five weeks in 1903, Baroness Emma Orczy's bestseller has been the basis of multiple adaptations. Rooted in the upheaval of Orczy's Hungarian childhood, and in the anxious nationalism of turn-of-the-century Britain, the story of the Scarlet Pimpernel provided a blueprint not only for subsequent historical swashbucklers, but for superheroes from Zorro to Superman. The edition places the book The Scarlet Pimpernel within the context of the elite and popular literature of the turn of the century. Orczy's novel is close in kin to such contemporary political thrillers as Joseph Conrad's The Secret Agent (1907); tales that channelled contemporary concerns about refugees and enemies within.

Art for art's sake is a vile catchword, but I confess it appeals to me'Gentleman by day and thief by night, A. J. Raffles lives a double life. Taking 'Art for art's sake' as his motto, Raffles supports his debonair lifestyle by performing lucrative, artistic, and ingenious burglaries of the wealthy elite of Victorian London. Dedicated to his brother-in-law Arthur Conan Doyle, Hornung's first collection of Raffles stories, The Amateur Cracksman (1899), can be seen as an inverted spin-off of the former's celebrated detective stories. But it is Raffles' outlaw status that has drawn generations of readers to these swift-paced tales of a charismatic and cool-headed thief and his less worldly partner, Bunny. Hornung had Oscar Wilde in mind as much as Sherlock Holmes when he created Raffles, and the account of their double life offers one of the turn of the century's most touching accounts of a same-sex couple. Frequently adapted for stage and screen, Hornung's original stories have never lost their power to captivate readers. Admired by writers like George Orwell, Graham Greene, and Anthony Powell, Hornung's crisp prose evokes a late Victorian London of clubland bachelors, hansom cabs, champagne suppers, Australian heiresses, and South African diamond moguls. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

This is a book about the long cultural shadow cast by a single bestselling novel, Anthony Hope's The Prisoner of Zenda (1894), which introduced Ruritania, a colourful pocket kingdom. In this swashbuckling tale, Englishman Rudolf Rassendyll impersonates the king of Ruritania to foil a coup, but faces a dilemma when he falls for the lovely Princess Flavia. Hope's novel inspired stage and screen adaptations, place names, and even a board game, but it also launched a whole new subgenre, the "Ruritanian romance". The new form offered swordplay, royal romance, and splendid uniforms and gowns in such settings as Alasia, Balaria, and Cadonia. This study explores both the original appeal of The Prisoner of Zenda, and the extraordinary longevity and adaptability of the Ruritanian formula, which, it is argued, has been rooted in a lingering fascination with royalty, and the pocket kingdom's capacity to hold a looking glass up to Britain and later the United States. Individual chapters look at Hope's novel and its stage and film adaptations; at the forgotten American versions of Ruritania; at the chocolate-box principalities of the musical stage; at Cold War reworkings of the formula; and at Ruritania's recent reappearance in young adult fiction and made-for-television Christmas movies. The adventures of Ruritania have involved a diverse list of contributors, including John Buchan, P.G Wodehouse, Agatha Christie, Vladimir Nabokov, and Ian Fleming among the writers; Sigmund Romberg and Ivor Novello among the composers; Erich Von Stroheim and David O. Selznick among the film-makers; and Robert Donat, Madeleine Carroll, Peter Ustinov, Peter Sellers, and Anne Hathaway among the performers.

'If love were the only thing, I would follow you-in rags if need be ... But is love the only thing?'Anthony Hope's The Prisoner of Zenda is a swashbuckling adventure set in Ruritania, a mythical pocket kingdom. Englishman Rudolf Rassendyll closely resembles the King of Ruritania, and to foil a coup by his rival to the throne, he is persuaded to impersonate him for a day. However, Rassendyll's role becomes more complicated when the real king is kidnapped, and he falls for the lovely Princess Flavia. Although the story is set in the near past, Ruritania is a semi-feudal land in which a strong sword arm can carry the day, and Rassendyll and his allies fight to rescue the king. But if he succeeds, our hero and Flavia will have to choose between love and honour. As Nicholas Daly's introduction outlines, this thrilling tale inspired not only stage and screen adaptations, but also place names, and even a popular board game. A whole new subgenre of 'Ruritanian romances' followed, though no imitation managed to capture the charm, exuberance, and sheer storytelling power of Hope's classic tale.

'There's the scarlet thread of murder running through the colourless skein of life.' In Arthur Conan Doyle's A Study in Scarlet a popular cultural phenomenon is born. We meet two of the most famous characters in modern literary history: the consulting detective Sherlock Holmes and John Watson, an army doctor home on sick leave, for the first time. Through Watson we learn a little about the eccentric figure who is his new room-mate at 221B Baker Street, before they encounter their first case: an American visitor to the city has been killed in an empty house off the Brixton Road, and the only clue the police have is the mysterious word 'Rache', scrawled in blood-red letters on the wall. As Holmes sets to work with his unique forensic methods, behind the murder a tangled skein of love, religion, and revenge gradually unwinds, taking us from the streets of London to the Utah Territory, and back again. As Nicholas Daly's Introduction describes, out of this gripping tale grew the Holmes and Watson stories that would make Conan Doyle the best-paid author of his time. His creations have become household words, inspiring not only countless adaptations and imitations, but a Sherlock Holmes museum, Sherlock Holmes-themed pubs, and a whole array of Holmesian merchandise, from cushions to jigsaw puzzles. Here, though, we meet Holmes and Watson before they became famous, and we can see how their extraordinary impact on our popular culture derives from the late-Victorian world from which they emerge.

In Modernism, Romance and the Fin de Siècle Nicholas Daly explores the popular fiction of the 'romance revival' of the late Victorian and Edwardian years, focusing on the work of such authors as Bram Stoker, H. Rider Haggard and Arthur Conan Doyle. Rather than treating these stories as Victorian Gothic, Daly locates them as part of a 'popular modernism'. Drawing on work in cultural studies, this book argues that the vampires, mummies and treasure hunts of these adventure narratives provided a form of narrative theory of cultural change, at a time when Britain was trying to accommodate the 'new imperialism', the rise of professionalism, and the expansion of consumerist culture. Daly's wide-ranging study argues that the presence of a genre such as romance within modernism should force a questioning of the usual distinction between high and popular culture.

Industrial modernity takes it as self-evident that there is a difference between people and machines, but the corollary of this has been a recurring fantasy about the erasure of that difference. The central scenario in this fantasy is the crash, sometimes literal, sometimes metaphorical. Nicholas Daly considers the way human/machine encounters have been imagined from the 1860s on, arguing that such scenes dramatise the modernisation of subjectivity. Daly begins with Victorian railway melodramas in which an individual is rescued from the path of the train just in time, and ends with J. G. Ballard's novel Crash in which people seek out such collisions. Daly argues that these collisions dramatise the relationship between the individual and the industrial society, and suggests that the pleasures of fictional suspense help people to assimilate the speeding up of everyday life. This book will be of interest to scholars of modernism, literature and film.

In Modernism, Romance and the Fin de Siècle Nicholas Daly explores the popular fiction of the 'romance revival' of the late Victorian and Edwardian years, focusing on the work of such authors as Bram Stoker, H. Rider Haggard and Arthur Conan Doyle. Rather than treating these stories as Victorian Gothic, Daly locates them as part of a 'popular modernism'. Drawing on work in cultural studies, this book argues that the vampires, mummies and treasure hunts of these adventure narratives provided a form of narrative theory of cultural change, at a time when Britain was trying to accommodate the 'new imperialism', the rise of professionalism, and the expansion of consumerist culture. Daly's wide-ranging study argues that the presence of a genre such as romance within modernism should force a questioning of the usual distinction between high and popular culture.

Industrial modernity takes it as self-evident that there is a difference between people and machines, but the corollary of this has been a recurring fantasy about the erasure of that difference. The central scenario in this fantasy is the crash, sometimes literal, sometimes metaphorical. Nicholas Daly considers the way human/machine encounters have been imagined from the 1860s on, arguing that such scenes dramatise the modernisation of subjectivity. Daly begins with Victorian railway melodramas in which an individual is rescued from the path of the train just in time, and ends with J. G. Ballard's novel Crash in which people seek out such collisions. Daly argues that these collisions dramatise the relationship between the individual and the industrial society, and suggests that the pleasures of fictional suspense help people to assimilate the speeding up of everyday life. This book will be of interest to scholars of modernism, literature and film.

In this provocative book, Nicholas Daly tracks the cultural effects of the population explosion of the nineteenth century, the 'demographic transition' to the modern world. As the crowded cities of Paris, London and New York went through similar transformations, a set of shared narratives and images of urban life circulated among them, including fantasies of urban catastrophe, crime dramas, and tales of haunted public transport, refracting the hell that is other people. In the visual arts, sentimental genre pictures appeared that condensed the urban masses into a handful of vulnerable figures: newsboys and flower-girls. At the end of the century, proto-ecological stories emerge about the sprawling city as itself a destroyer. This lively study excavates some of the origins of our own international popular culture, from noir visions of the city as a locus of crime, to utopian images of energy and community.

In this provocative book, Nicholas Daly tracks the cultural effects of the population explosion of the nineteenth century, the 'demographic transition' to the modern world. As the crowded cities of Paris, London and New York went through similar transformations, a set of shared narratives and images of urban life circulated among them, including fantasies of urban catastrophe, crime dramas, and tales of haunted public transport, refracting the hell that is other people. In the visual arts, sentimental genre pictures appeared that condensed the urban masses into a handful of vulnerable figures: newsboys and flower-girls. At the end of the century, proto-ecological stories emerge about the sprawling city as itself a destroyer. This lively study excavates some of the origins of our own international popular culture, from noir visions of the city as a locus of crime, to utopian images of energy and community.