Susan Wolstenholme – författare

`The road to the City of Emeralds is paved with yellow brick,' said the Witch; `so you cannot miss it. When you get to Oz do not be afraid of him, but tell your story and ask him to help you.' A cyclone hits Kansas and whirls away Dorothy and her little dog Toto to the magical Land of Oz, where wild beasts talk, silver shoes have magic powers, and good witches offer protection with a kiss. But Dorothy has made an enemy of the Wicked Witch of the West. With her new friends the Scarecrow, the Tin Woodman, and the Cowardly Lion, they brave many dangers in search of the Wonderful Wizard in his Emerald City at the heart of Oz to ask him to grant each of them what they most desire - only to find that they already possess it. Published at the dawn of the twentieth century, The Wonderful Wizard of Oz (1900) immediately captivated child and adult readers alike. This new edition includes many of W. W. Denslow's original illustrations, and the introduction considers both the famous MGM film version and recent literary theory in a fascinating discussion of this children's classic. 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.

Gothic fiction usually has been perceived as the special province of women, an attraction often attributed to a thematics of woman-identified issues such as female sexuality, marriage, and childbirth. But why these issues? What is specifically "female" about "Gothic?" This book argues that Gothic modes provide women who write with special means to negotiate their way through their double status as women and as writers, and to subvert the power relationships that hinder women writers.Current theories of "gendered" observation complicate the idea that Gothic-marked fiction relies on composed, individual scenes and visual metaphors for its effect. The texts studied here-by Ann Radcliffe, Mary Shelley, Charlotte Brontë, Harriet Beecher Stowe, George Eliot, and Edith Wharton-explode the authority of a unitary, centralized narrative gaze and establish instead a diffuse, multi-angled textual position for "woman." Gothic moments in these novels create a textualized space for the voice of a "woman writer," as well as inviting the response of a "woman reader."