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"More chills in its little length than in a whole shelf of bestsellers." - Stephen King "At once moral fable, cautionary ghost story and inspired attack on the whole hellbent drift of modern letters, this is a splendid tale, splendidly told, which Ford or Henry James would have been glad to have written." - Robert Nye, "Guardian" "Wry and insightful . . . toys with the notion of demonic possession but becomes a thoroughly realistic and highly original story of revenge; a chilling cautionary tale." - Elaine Kendall, "Los Angeles Times" "A brief return to the world of Faust, Mephistopheles and the Devil pact. Mr. Judd . . . achieves a deep polish." - Robert Grudin, "The New York Times Book Review" After Edward, a rising young author, pens a savage review of the new novel by the world-famous O.M. Tyrell, he is surprised to receive an invitation to visit the old man at his villa in the south of France. The night of their meeting, Tyrell dies, and soon after, Edward's career mysteriously starts to soar as he earns fame, fortune and critical acclaim. But despite his achievements, Edward seems haunted, even tormented. His friend, the narrator, begins to put together the pieces of the story: an ancient, inscrutable manuscript, a beautiful, ageless woman who attaches herself to any writer who possesses it, and a bargain to achieve success at a terrible price . . . Winner of Britain's prestigious Guardian Fiction Prize, Alan Judd's modern classic "The Devil's Own Work" (1991) is, as Owen King writes in the new introduction to this edition, "a perfect novel about the demonic possession that is literary ambition." This edition also features a new afterword by the author, in which he reveals the inspirations for this haunting tale.
In this volume, you will encounter tales of ghosts, haunted houses, witchcraft, vampirism, lycanthropy, and sea monsters. Stories of cruelty and vengeance, of a body that refuses to be cremated, a deranged performer with one last shocking show, a frozen corpse that may not be dead. With stories ranging from frightening to horrific to weird to darkly funny, by a lineup of authors that includes both masters of horror fiction and award-winning literary greats, this is a horror anthology like no other. Spanning two hundred years of horror, this new collection features seventeen macabre gems, including two original tales and many others that have never or seldom been reprinted, by: Charles Birkin • John Blackburn • Michael Blumlein • Mary Cholmondeley • Hugh Fleetwood • Stephen Gregory • Gerald Kersh • Francis King • M. G. Lewis • Florence Marryat • Richard Marsh • Michael McDowell • Christopher Priest • Forrest Reid • Bernard Taylor • Hugh Walpole 'The things were there and they were hiding in the slime; waiting ... waiting to clutch and claw and savage’ - AUNTY GREEN by John Blackburn ‘The sound that came from her throat, a small, pleading cry of terror, was cut off before she’d hardly had a chance to utter it’ - OUT OF SORTS by Bernard Taylor ‘The words filled her with an indescribable fear, and she turned to run; but her way was blocked by a figure, gigantic in stature​ – and its monstrous shape moved towards her, and she knew it was the incarnation of evil itself ’ - THE TERROR ON TOBIT by Charles Birkin
Antique dealer Geoff Ashden has an uncanny knack for finding cursed objects and haunted places.
A captivating espionage novel that explores the life of theatrical genius—and spy—Christopher Marlowe, whose violent death remains one of the most fascinating mysteries of the Elizabethan Age. In Elizabethan England, the queen’s chief spymaster, Francis Walsingham, and his team of agents must maintain the highest levels of vigilance to ward off Catholic plots and an ever-present threat of invasion from Spain. One agent in particular—a young Cambridge undergraduate of humble origins, controversial beliefs, and literary genius who goes by the name of Kit Marlowe—is relentless in his pursuit of intelligence for the Crown. When he is killed outside an inn in Deptford, his mysterious death becomes the subject of rumor and suspicion that are never satisfactorily resolved. Years later, when Thomas Phelippes, a former colleague of Marlowe’s, finds himself imprisoned in the Tower of London, there is one thing that might give him his freedom back. He must give the king every detail he is able to recall about his murdered friend’s life—and death. But why is King James so fascinated about Kit Marlowe—and does Phelippes know enough to secure his own redemption?
Shows the influence of a man of remarkable and dominating personality on the lives of people who know him, and on some people who have never met him.
The Gothic, Romanticism's gritty older sibling, has flourished in myriad permutations since the eighteenth century. In Gothicka, Victoria Nelson identifies the revolutionary turn it has taken in the twenty-first. Today's Gothic has fashioned its monsters into heroes and its devils into angels. It is actively reviving supernaturalism in popular culture, not as an evil dimension divorced from ordinary human existence but as part of our daily lives. To explain this millennial shift away from the traditionally dark Protestant post-Enlightenment Gothic, Nelson studies the complex arena of contemporary Gothic subgenres that take the form of novels, films, and graphic novels. She considers the work of Dan Brown and Stephenie Meyer, graphic novelists Mike Mignola and Garth Ennis, Christian writer William P. Young (author of The Shack), and filmmaker Guillermo del Toro. She considers twentieth-century Gothic masters H. P. Lovecraft, Anne Rice, and Stephen King in light of both their immediate ancestors in the eighteenth century and the original Gothic-the late medieval period from which Horace Walpole and his successors drew their inspiration. Fictions such as the Twilight and Left Behind series do more than follow the conventions of the classic Gothic novel. They are radically reviving and reinventing the transcendental worldview that informed the West's premodern era. As Jesus becomes mortal in The Da Vinci Code and the child Ofelia becomes a goddess in Pan's Labyrinth, Nelson argues that this unprecedented mainstreaming of a spiritually driven supernaturalism is a harbinger of what a post-Christian religion in America might look like.
The "twisted tree" is a blackthorn branch, picked by Tansy Penderil, a naive young Cornish girl, on the same day she meets the handsome but diabolical Roger Chailey in the woods for the first time. But it is not the only souvenir of their encounter: eighteen years later, Tansy's son, David, is the living image of Chailey, sharing not only his father's good looks but also his immoral ways. David's resemblance to her first lover triggers powerful feelings in Tansy and leads to a strange relationship between mother and son, as well as a terrible and shocking conclusion . . . The Twisted Tree (1935) is the extremely rare first novel by Frank Baker (1908-1983), best known for his avian apocalypse novel The Birds (1936) and his classic fantasy Miss Hargreaves (1940). A story that one critic said might have been "written by the ghost of D. H. Lawrence seated on the grave of Mary Webb," Baker's brooding Gothic drama is an important rediscovery that remains a gripping and powerful read. "A dark and terrible tale." - Howard Spring "An imaginative novel told with a haunting sense of subconscious evil . . . The climax comes with startling effect. A vivid and stirring book." - Manchester Evening News "A thoroughly interesting and often moving tale." - Compton Mackenzie