Download Free The Daylight Gate Book in PDF and EPUB Free Download. You can read online The Daylight Gate and write the review.

The Daylight Gate, an instant bestseller in the UK, is award-winning Jeanette Winterson’s singular vision of a dark period of complicated morality, sex, and tragic plays for power in a time when politics and religion were closely intertwined. After the Gunpowder Plot of 1605, every Catholic conspirator in England fled to a wild, untamed place far from the reach of London law. On Good Friday, 1612, deep in the woods of Pendle Hill, amid baptismal pools and low, thick fog, a gathering of thirteen is interrupted by the local magistrate. Two of their coven have already been imprisoned for witchcraft and are awaiting trial, but those who remain are vouched for by the wealthy and respected Alice Nutter. Shrouded in mystery and gifted with eternally youthful beauty, Alice is established in Lancashire society and insulated by her fortune. Yet she is also plagued by rumors of a dark and torrid love affair with another woman, the matriarch of the notorious Demdike clan. As those accused of witchcraft retreat into darkness, Alice stands alone as a realm-crosser, a conjurer of powers that will either destroy her or set her free.
Rediscovering Renaissance Witchcraft is an exploration of witchcraft in the literature of Britain and America from the 16th and 17th centuries through to the present day. As well as the themes of history and literature (politics and war, genre and intertextuality), the book considers issues of national identity, gender and sexuality, race and empire, and more. The complex fascination with witchcraft through the ages is investigated, and the importance of witches in the real world and in fiction is analysed. The book begins with a chapter dedicated to the stories and records of witchcraft in the Renaissance and up until the English Civil War, such as the North Berwick witches and the work of the ‘Witch Finder Generall’ Matthew Hopkins. The significance of these accounts in shaping future literature is then presented through the examination of extracts from key texts, such as Shakespeare’s Macbeth and Middleton’s The Witch, among others. In the second half of the book, the focus shifts to a consideration of the Romantic rediscovery of Renaissance witchcraft in the eighteenth century, and its further reinvention and continued presence throughout the nineteenth, twentieth and twenty-first centuries, including the establishment of witchcraft studies as a subject in its own right, the impact of the First World War and end of the British Empire on witchcraft fiction, the legacy of the North Berwick, Hopkins and Salem witch trials, and the position of witchcraft in culture, including filmic and televisual culture, today. Equipped with an extensive list of primary and secondary sources, Rediscovering Renaissance Witchcraft is essential reading for all students of witchcraft in modern British and American culture and early modern history and literature.
Secrecy and Community in 21st-Century Fiction examines the relation between secrecy and community in a diverse and international range of contemporary fictional works in English. In its concern with what is called 'communities of secrecy', it is fundamentally indebted to the thought of Jacques Derrida, Jean-Luc Nancy and Maurice Blanchot, who have pointed to the fallacies and dangers of identitarian and exclusionary communities, arguing for forms of being-in-common characterized by non-belonging, singularity and otherness. Also drawing on the work of J. Hillis Miller, Derek Attridge, Nicholas Royle, Matei Calinescu, Frank Kermode and George Simmel, among others, this volume analyses the centrality of secrets in the construction of literary form, narrative sequence and meaning, together with their foundational role in our private and interpersonal lives and the public and political realms. In doing so, it engages with the Derridean ethico-political value of secrecy and Derrida's conception of literature as the exemplary site for the operation of the unconditional secret.
Moral Complexities in Turn of the Millennium British Literature offers a critical analysis of moral complexity and social responsibility in works by Kazuo Ishiguro, Patrick McGrath, Graham Swift, Andrea Levy, and Jeanette Winterson. Mara Reisman argues that through their writing, these authors reveal and upset literary, cultural, and political fictions and encourage readers to think carefully about language, power, community, and social justice. The book examines moral issues in two different ways: how books by these authors address morally complex social, political, and cultural issues and how their books serve a moral function by challenging readers to be socially engaged. Reisman provides an in-depth analysis of The Remains of the Day, Asylum, The Light of Day, Small Island, and The Daylight Gate and uses these books to discuss twentieth- and twenty-first-century British politics and culture. These books address a wide variety of issues often associated with moral judgments: war, racism, adultery, maternal neglect, murder, professional misconduct, witchcraft, and religion. Despite this diversity and settings that range from the seventeenth century to the late twentieth century, these books include similar arguments about how empathy, personal responsibility, and civic engagement can create more productive social relations and a less divided world.
We know all kinds of monsters. Vampires who suck human blood, werewolves who harass tourists in London or Paris, zombies who long to feast on our brains, or Godzilla, who is famous in and outside of Japan for destroying whole cities at once. Regardless of their monstrosity, all of these creatures are figments of the human mind and as real as they may seem, monsters are and always have been constructed by human beings. In other words, they are imagined. How they are imagined, however, depends on many different aspects and changes throughout history. The present volume provides an insight into the construction of monstrosity in different kinds of media, including literature, film, and TV series. It will show how and by whom monsters are really created, how time changes the perception of monsters and what characterizes specific monstrosities in their specific historical contexts. The book will provide valuable insights for scholars in different fields, whose interest focuses on either media studies or history.
This book explores the development of queer Gothic fiction, contextualizing it with reference to representations of queer sexualities and genders in eighteenth and nineteenth-century Gothic, as well as the sexual-political perspectives generated by the 1970s lesbian and gay liberation movements and the development of queer theory in the 1990s. The book examines the roles that Gothic motifs and narrative strategies play in depicting aspects of lesbian, gay, bisexual, transsexual and intersex experience in contemporary Gothic fiction. Gothic motifs discussed include spectrality, the haunted house, the vampire, doppelganger and monster. Regional Gothic and the contribution that Gothic tropes make to queer historical fiction and historiography receive attention, as does the AIDS narrative. Female Gothic and feminist perspectives are also explored. Writers discussed include Peter Ackroyd, Vincent Brome, Jim Grimsley, Alan Hollinghurst, Randall Kenan, Meg Kingston, Michelle Paver, Susan Swan, Louise Tondeur, Sarah Waters, Kathleen Winter and Jeanette Winterson.
This book revives and revitalises the literary Gothic in the hands of contemporary women writers. It makes a scholarly, lively and convincing case that the Gothic makes horror respectable, and establishes contemporary women’s Gothic fictions in and against traditional Gothic. The book provides new, engaging perspectives on established contemporary women Gothic writers, with a particular focus on Angela Carter, Margaret Atwood and Toni Morrison. It explores how the Gothic is malleable in their hands and is used to demythologise oppressions based on difference in gender and ethnicity. The study presents new Gothic work and new nuances, critiques of dangerous complacency and radical questionings of what is safe and conformist in works as diverse as Twilight (Stephenie Meyer) and A Girl Walks Home Alone (Ana Lily Amirpur), as well as by Anne Rice and Poppy Brite. It also introduces and critically explores postcolonial, vampire and neohistorical Gothic and women’s ghost stories.
Putting forward a new theory of fetishism - alternative fetishism - this book provides an up-to-date examination of the work of Jeanette Winterson, offering fresh perspectives and new insights on the topics of gender, sexuality, and identity in her writing. Combining contemporary theories in psychoanalytical and cultural studies, it proposes that a rethinking of fetishism allows Winterson's works to be brought into sharper critical focus by repositioning fetishism as a daily practice in society. In so doing, it argues that Winterson's work challenges orthodox, normative, and contemporary views of fetishism to reveal her own alternative version. Containing the transcript of an email Q&A with Winterson herself and covering the majority of Winterson's oeuvre, from her first novel, Oranges Are Not the Only Fruit (1985), up to the most recent, Frankissstein (2019), the book is divided into three main chapters that each discuss a particular theme in Winterson's fiction: bodily fetishism, food fetishism, and sexual fetishism. While the book's focus is on Winterson, the theoretical framework it proposes can be applied to other authors and disciplines in the Arts and Humanities, such as theatre and film, offering new ways of thinking about topics such as fetishism, feminism, psychoanalytical theory, postmodernism, gender, and sexuality.
Taking in a wide range of film, television, and literature, this volume explores 21st century horror and its monsters from an intersectional perspective with a marked emphasis on gender and race. The analysis, which covers over 70 narratives, is organized around four primary monstrous figures--zombies, vampires, witches and monstrous women. Arguing that the current horror renaissance is populated with willful monsters that subvert prevailing cultural norms and systems of power, the discussion reads horror in relation to topics of particular import in the contemporary moment--rampant sexual violence, unbridled capitalist greed, brutality against people of color, militarism, and the patriarchy's refusal to die. Examining ground-breaking films and television shows such as Get Out, Us, The Babadook, A Quiet Place, Stranger Things, Penny Dreadful, and The Passage, as well as works by key authors like Justin Cronin, Carmen Maria Machado, Helen Oyeyemi, Margo Lanagan, and Jeanette Winterson, this monograph offers a thorough account of the horror landscape and what it says about the 21st century world.
With thirty-nine original chapters from internationally prominent scholars, The Oxford Handbook of Virginia Woolf is designed for scholars and graduate students. Feminist to the core, each chapter examines an aspect of Woolf's achievement and legacy. Each contribution offers an overview that is at once fresh and thoroughly grounded in prior scholarship. Six sections focus on Woolf's life, her texts, her experiments, her life as a professional, her contexts, and her afterlife. Opening chapters on Woolf's life address the powerful influences of family, friends, and home. The section on her works moves chronologically, emphasizing Woolf's practice of writing essays and reviews alongside her fiction. Chapters on Woolf's experimentalism pay special attention to the literariness of Woolf's writing, with opportunity to trace its distinctive watermark while 'Professions of Writing', invites readers to consider how Woolf worked in cultural fields including and extending beyond the Hogarth Press and the TLS. The 'Contexts' section moves beyond writing to depict her engagement with the natural world as well as the political, artistic, and popular culture of her time. The final section on afterlives demonstrates the many ways Woolf's reputation continues to grow, across the globe, and across media, in ideas and in artistic expression. Of particular note, chapters explore three distinct Woolfian traditions in fiction: the novel of manners, magical realism, and the feminist novel.