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"In the large room of a house in a certain quiet city in Flanders, a man was gilding a devil. The chamber looked on to the quadrangle round which the house was built; and the sun, just overhead, blazed on the vine leaves clinging to the brick and sent a reflected glow into the sombre spaces of the room. The devil, rudely cut out of wood, rested by his three tails and his curled-back horns against the wall, and the man sat before him on a low stool. On the table in front of the open window stood a row of knights in fantastic armour, roughly modelled in clay; beside them was a pile of vellum sheets covered with drawings in brown and green. By the door a figure of St. Michael leant against a chair, and round his feet were painted glasses of every colour and form."
"In the large room of a house in a certain quiet city in Flanders, a man was gilding a devil. The chamber looked on to the quadrangle round which the house was built; and the sun, just overhead, blazed on the vine leaves clinging to the brick and sent a reflected glow into the sombre spaces of the room. The devil, rudely cut out of wood, rested by his three tails and his curled-back horns against the wall, and the man sat before him on a low stool. On the table in front of the open window stood a row of knights in fantastic armour, roughly modelled in clay; beside them was a pile of vellum sheets covered with drawings in brown and green. By the door a figure of St. Michael leant against a chair, and round his feet were painted glasses of every colour and form."
Mrs. Gabrielle Margaret Vere Long ne Campbell (1885-1952), who wrote under the pseudonym of Marjorie Bowen, was a British author who wrote historical romances, supernatural horror stories, popular history and biography. Her total output numbers over 150 volumes with the bulk of her work under the 'Bowen' pseudonym. She also wrote under the names Joseph Shearing, George R. Preedy, John Winch, Robert Paye and Margaret Campbell. As Joseph Shearing, she wrote several sinister gothic romances full of terror and mystery. Many of these stories were published as Berkley Medallion Books. Several of her books were adapted as films. Her books are much sought after by aficianados of gothic horror and received praise from critics. Her works include: The Viper of Milan: A Romance of Lombardy (1906), The Glen O' Weeping (1907), The Sword Decides (1908), The Leopard and the Lily (1909), I Will Maintain (1910), Defender of the Faith (1911), God and the King (1911), Lover's Knots (1912), The Quest of Glory (1912), The Rake's Progress (1912), The Soldier From Virginia (1912), God's Playthings (1912), The Governor of England (1913) and A Knight of Spain (1913).
A fascinating occult literature classic, Marjorie Bowen's Black Magic has the story of rise and fall of Anti-Christ movement deftly filled with living images of corrupted nuns, satanic rituals, spells, demons, intensely unscruplus church, violent thunderstorms, love triangles, witches, ghosts, medieval opulence, violence, comets, and much more. Her Heros face the trial of marching on Rome to fight the devil-driven pope to save the Christianity and the people who have their faith on Christ. "In the large room of a house in a certain quiet city in Flanders, a man was gilding a devil" the first line of this story lifts the curtain to take the reader to a thrilling time-travel. Dirk Renswoude, a craftsman of noble birth, mistreated in some way by his family, meets Thierry, a young scholar on his way to study at the university at Basle and they soon discover that they have a shared fascination for black magic.
Fantastic occult fiction, praised by Aleister Crowley. [Cataloguer's note].
This book resituates the ghost story as a matter of literary hospitality and as part of a vital prehistory of modernism, seeing it not as a quaint neo-gothic ornament, but as a powerful literary response to the technological and psychological disturbances that marked the end of the Victorian era. Linking little-studied authors like M. R. James and May Sinclair to such canonical figures as Dickens, Henry James, Woolf, and Joyce, Thurston argues that the literary ghost should be seen as no mere relic of gothic style but as a portal of discovery, an opening onto the central modernist problem of how to write 'life itself.' Ghost stories are split between an ironic, often parodic reference to Gothic style and an evocation of 'life itself, ' an implicit repudiation of all literary style. Reading the ghost story as both a guest and a host story, this book traces the ghost as a disruptive figure in the 'hospitable' space of narrative from Maturin, Poe and Dickens to the fin de siècle, and then on into the twentieth century.
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