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Zastrozzi

4/30/2014

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Zastrozzi: A Romance is a Gothic novel by Percy Bysshe Shelley first published in 1810 anonymously, with only the initials of the author's name, as ‘by P.B.S.’. The first of Shelley's two early, gothic novels, it outlines his atheistic worldview through the villain Zastrozzi and touches upon his earliest thoughts on irresponsible self-indulgence and violent revenge. An 1810 reviewer wrote that the main character ‘Zastrozzi is one of the most savage and improbable demons that ever issued from a diseased brain’.
Shelley wrote Zastrozzi at the age of seventeen while in his last year at Eton though it was not published until later, when he was attending University College, Oxford.
In the book, Pietro Zastrozzi, an outlaw, and his two servants, Bernardo and Ugo, disguised in masks, abduct Verezzi from an inn near Munich where he lives and take him to a cavern hideout. Verezzi is locked in a room with an iron door. Chains are placed around his waist and limbs and he is attached to the wall.
Verezzi is able to escape and to flee his abductors, running away to Passau in Lower Bavaria. Claudine, an elderly woman, allows Verezzi to stay at her cottage. Verezzi saves Matilda from jumping off of a bridge. She befriends him. Matilda seeks to persuade Verezzi to marry her. Verezzi, however, is in love with Julia. Matilda provides lodging for Verezzi at her castle near Venice. Her tireless efforts to seduce him are unsuccessful.
Zastrozzi concocts a plan to torture and to torment Verezzi. He spreads a false rumour that Julia has died, exclaiming to Matilda "Would Julia of Strobazzo's heart was reeking on my dagger!" Verezzi is convinced that Julia is dead. Distraught and emotionally shattered, he then relents and offers to marry Matilda.
The truth is revealed that Julia is still alive. Verezzi is so distressed at his betrayal that he kills himself. Matilda kills Julia in retaliation. Zastrozzi and Matilda are arrested for murder. Matilda repents. Zastrozzi, however, remains defiant before an inquisition. He is tried, convicted, and sentenced to death.
Zastrozzi confesses that he sought revenge against Verezzi because Verezzi's father had deserted his mother, Olivia, who died young, destitute, and in poverty. Zastrozzi blamed his father for the death of his mother, who died before she was thirty. Zastrozzi sought revenge against not only his own father, whom he murdered, but also against ‘his progeny for ever’, his son Verezzi. Verezzi and Zastrozzi had the same father. By murdering his own father, Zastrozzi only killed his corporeal body. By manipulating Verezzi into committing suicide, however, Zastrozzi confessed that his objective was to achieve the eternal damnation of Verezzi's soul based on the proscription of the Christian religion against suicide. Zastrozzi, an outspoken atheist, goes to his death on the rack rejecting and renouncing religion and morality ‘with a wild convulsive laugh of exulting revenge’.



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ValleY of Nightmares

4/29/2014

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Okay, I'm cheating a little bit with my blog entry for the letter 'Y'. But I'm struggling to find a link to the gothics for 'Y' and I really want an excuse to introduce my third Harlequin Shivers novel, Valley of Nightmares. 
Valley of Nightmares is a 'stand alone' gothic. It will be released as part of the third Shivers box set in July 2014.
It's 1938, and war is looming as Lilly Divine leaves London for life as a governess in a crumbling mansion. Her employer, Gethin Taran, a man as remote and compelling as the mountains encirlcling his home, soon has Lilly intrigued and enthralled. But there is danger as well as passion in the valley, and its ghostly source begins to stalk Lilly's nightmares…. 

 

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Tales of the UneXpected

4/28/2014

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Roald Dahl is best known for his classic children’s books, including Charlie and the Chocolate Factory, The Witches and Fantastic Mr Fox. Tales of the Unexpected is a collection of sixteen very dark short stories for adults that were first published in 1979. All of the stories were earlier published in various magazines, and then in the collections Someone Like You and Kiss Kiss. All the stories contain at least one shocking twist, many of them being of a violent or disturbing nature.
There are tales of risk-takers, such as the man who wagers his daughter's hand in marriage to a wine connoisseur, or the traveller who throws himself overboard on a cruise liner to win a bet. Here too is the understated cruelty of Edward the Conqueror, in which a mysterious cat seems to threaten domestic life, or the innocuous-seeming Landlady, whose guests stay for longer than they intend.
Lamb to the Slaughter is the story of Mary Maloney. She is a pregnant young woman married to a policeman. One night her husband comes home and tells her he is going to leave her. Mary, as if in a trance, tries to act normally and gets a leg of lamb from the freezer to make for her husband's dinner. But he becomes very angry with her. In a fit of rage and terror about her future, Mary strikes her husband over the back of his head with the leg of lamb and kills him.
She then goes to great lengths to cover up her crime, including doing away with the evidence in an ingenious but horrible way.
That said, the story is disturbing and shocking, and it is amazing to think that the same man who wrote Charlie and the Chocolate Factory managed to think of these dark tales.
There was also a British television series of the same name between 1979 and 1988 based on dahl's stories. Each episode told its own story, with a sinister and wry undertone and an unexpected twist in the end.


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Whitby

4/27/2014

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Whitby is an English town situated on the Yorkshire Coast. To the south lie the coastal villages and resorts of Scarborough, Filey and Bridlington.  The nearest city is York. From the old town of Whitby, 199 steps lead up to the parish church of St. Mary, whose churchyard on Whitby's East Cliff gave Bram Stoker the inspiration to write his world famous book, Dracula
Stoker found the inspiration for a large part of his most famous work, Dracula (first published 1897), after a trip to Whitby in 1890. While the Eastern European sections of this gothic horror novel were said to have been based upon tales of blood lust and the living dead regaled to him by the Hungarian adventurer and Orientalist Arminius Vambery, it was the realities of the harsh beauty of Whitby that found its way into the author's heart and became the setting for so many pivotal scenes. It is believed that Stoker spent his time in Whitby staying at the Royal Hotel situated on the town's West Cliffs. From here the author would have had a prime view down into the town, the harbour and across to the cobbled streets of the older East side, defined by the imposing ruins of Whitby Abbey and the dark silhouette of St. Mary's church which sits brooding atop the winding 199 steps which rise up the cliffs from the streets below. It is easy to see how this vista would have inspired a darkly creative mind. One needs only to experience this view on a day when the mist clings to the town as it rolls off the sea to appreciate the macabre affect this can have on the imagination.
Whitby is the scene for a good section of the novel with the arrival of Count Dracula to England's shores aboard the Russian ship, the Demeter, which runs aground on the shores of Tate Hill beach in the town's harbour during a fierce storm. All of the crew are missing, presumed dead, with the exception of the captain's body which has been lashed to the ship's helm. When the captain's log is recovered it recounts tales of the strange events which led to the gradual disappearance of the entire crew and of a malevolent presence aboard the ship. As the ship runs aground an animal resembling a large wolf or dog is seen leaping ashore from its deck. The ill-fated ship's only cargo is described as silver sand and boxes of mould or earth from Transylvania.
Although Whitby's gothic connection was established most strongly by Bram Stoker, the town has also inspired many other authors who have shared Stoker’s' supernatural fascination.  The town also hosts an annual goth weekend and visitors can take part in ghost walks and the Dracula Experience. 



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Vampires

4/26/2014

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I have nothing against vampires. I like them. But I like my vampires as legend intended them. Proud, beautiful monsters. 
If you like your vampires sparkly, that's fine. Good luck to you. I prefer mine bloody. Each to her own. 
I haven't included any vampires in my books (yet), but I have just finished a Shivers which features some soul eating, vampire-like creatures. And that got me thinking about my favourite vampires and what it is about them that makes their appeal as characters so enduring. Here are three of my favourites the first time we meet them.
Count Dracula  
His face was a strong, a very strong, aquiline, with high bridge of the thin nose and peculiarly arched nostrils, with lofty domed forehead, and hair growing scantily round the temples but profusely elsewhere. His eyebrows were very massive, almost meeting over the nose, and with bushy hair that seemed to curl in its own profusion. The mouth, so far as I could see it under the heavy moustache, was fixed and rather cruel-looking, with peculiarly sharp white teeth. These protruded over the lips, whose remarkable ruddiness showed astonishing vitality in a man of his years. For the rest, his ears were pale, and at the tops extremely pointed. The chin was broad and strong, and the cheeks firm though thin. The general effect was one of extraordinary pallor.
Hitherto I had noticed the backs of his hands as they lay on his knees in the firelight, and they had seemed rather white and fine. But seeing them now close to me, I could not but notice that they were rather coarse, broad, with squat fingers. Strange to say, there were hairs in the centre of the palm. The nails were long and fine, and cut to a sharp point. As the Count leaned over me and his hands touched me, I could not repress a shudder. It may have been that his breath was rank, but a horrible feeling of nausea came over me, which, do what I would, I could not conceal.
The Count, evidently noticing it, drew back. And with a grim sort of smile, which showed more than he had yet done his protruberant teeth, sat himself down again on his own side of the fireplace. We were both silent for a while, and as I looked towards the window I saw the first dim streak of the coming dawn. There seemed a strange stillness over everything. But as I listened, I heard as if from down below in the valley the howling of many wolves. The Count's eyes gleamed, and he said.
"Listen to them, the children of the night. What music they make!" Seeing, I suppose, some expression in my face strange to him, he added,"Ah, sir, you dwellers in the city cannot enter into the feelings of the hunter." 

The Vampire Lestat
I am the Vampire Lestat. I'm Immortal. More or less. The light of the sun, the sustained heat of an intense fire - these things might destroy me. But then again, they might not. 
I'm six feet tall, which was fairly impressive in the 1780's when I was a young mortal man. It's not bad now. I have thick blond hair, not quite shoulder length, and rather curly, which appears white under fluorescent light. My eyes are grey, but they absorb the colours blue or violet easily from sufaces around them. And I have a fairly short narrow nose, and a mouth that is well shaped but just a little too big for my face. It can look very mean, or extremely generous, my mouth. It always looks sensual. But emotions and attitudes are always reflected in my entire expression. I have a continuously animated face.
My vampire nature reveals itself in extremely white and highly reflective skin that has to be powdered down for cameras of any kind.
And if I'm starved of blood I look like a perfect horror - skin shrunken, viens like ropes over the contours of my bones. But I don't let that happen now. And the only consistent indication that I am not human is my fingernails. It's the same with all vampires. Our fingernails look like glass. And some people notice that when they don't notice anything else.

Kurt Barlow
Barlow in Stephen King's Salems's Lot is described as ''a tall, extremely thin silhouette''. His ''cheekbones were high and Slavic, his forehead pale and bony, his dark hair swept straight back'' and ''his teeth curved out over his full lips, white with strong streaks of yellow, like ivory'' We can even assume that he has a similar taste in clothes as Dracula, although he has adapted it to his period somewhat since he is ''all tricked out in a suit, vest and all''.

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The Mysteries of Udolpho

4/25/2014

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Set in the sixteenth century, The Mysteries of Udolpho by Ann Radcliffe opens in the idyllic setting of Emily St. Aubert's home in La Vallee. The happiness of her life here is quickly dissipated, however, when her mother dies. She moves to the Pyrenees with her father, and there meets and falls in love with Valancourt. Her father soon falls ill and upon his deathbed commands Emily to burn a number of letters and documents, strictly forbidding her to read any of them. After he dies, Emily dutifully burns the letters, but she accidentally chances to read a passage from one of them. Although the content of the letter is never revealed to the reader, the passage she reads, which apparently refers to a woman whom her father had once loved, deeply disturbs Emily.
With her parents gone, Emily goes to live with her aunt, Madame Cheron, a vain, selfish, and unpleasant woman. More unpleasant and menacing still is her suitor, the villainous Montoni, who has squandered his own money and is in league with a group of bandits. Cheron marries Montoni, though it is clear he is only interested in her estates. Valancourt has followed Emily to her aunt's home in Toulouse, and, at first, is given permission by Montoni to marry Emily. However, Montoni changes his mind and sends Valancourt away. Montoni takes Emily and his wife to Udolpho, a castle in the Italian Apennines. Here, he tries to force one of his associates, Count Morano, upon Emily, who resists his proposals. Montoni then tries to force Emily's aunt to give him all her property. When she refuses, he locks her away in a secluded room where he neglects and eventually starves her to death. Meanwhile, Montoni also pursues Emily for her money and land. During her stay at Udolpho, many bizarre and seemingly supernatural occurrences frighten Emily.
Emily manages to escape from Udolpho. She is shipwrecked on the French coast, where she is rescued by the Count de Villefort, who takes her to live with his family in the chateau he has inherited from the Villerois. The chateau is near the convent where her father's grave is located, and Emily spends some time there. Back at the chateau, Emily experiences frightening sights. When one of the servants, Ludovico, bravely spends the night there to prove that there are no ghosts, he disappears the next day. Emily finds out that she bears a striking resemblance to the Marchioness de Villeroi.

Vallancourt appears once again, but Emily rejects him this time because she has heard that he engaged in gambling and other bad behavior while he was in Paris. She returns to La Vallee to learn that the lands Montoni has stolen from her have been returned to her possession and that Montoni is now in jail. Ludovico is also rediscovered. He had been taken by bandits, who had been using part of the chateau to hide their ill-gotten booty. It is discovered that it was the bandits who had been haunting the chateau to scare away anyone who might discover them and their secret. Emily further learns that the rumors about her love, Vallancourt, were untrue, and the couple marry and live happily at La Vallee.



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Setting in the Gothic Novel

4/22/2014

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Gothic novels are characterised by an atmosphere of mystery and suspense. The mood is pervaded by a threatening feeling, a fear enhanced by the unknown. Characters catch only a glimpse of something—-was that a person drifting past the window or only the wind blowing a curtain? Is that creaking sound coming from someone's step on the squeaky floor, or only the sounds of the night? Often the plot itself is built around a mystery, such as unknown parentage, a disappearance, or some other inexplicable event. People disappear or show up dead inexplicably.
A typical gothic story is set in and around a castle, graveyard, cave, convent, monastery, church, cathedral, chapel or dungeon. The setting is key to the success of the story.
‘The building possesses the occupants or holds them in bondage’
Marshall Tymn,  Fantasy Literature
The locations are in remote, uninhabited places such as mountain ranges, wild forests, or cliff tops.
There are key conventions for developing a gothic atmosphere. Architectural features such as towers, trapdoors, mysterious corridors, rusty hinges, tunnels, and lightless niches all serve to entrap their helpless victims. Flickering candles, burial vaults, tolling bells, hidden manuscripts, curses and prophecies, suits of armour, ghosts, clanking chains, animated portraits, lamps, evil potions and spells, fluttering bats, storms, lightening, and howling winds add to the aura of terror and mystery that define the gothic genre. A wide range of elements that create a sense of terror, decay, despair, or death are needed to contribute to a gothic setting.
Gothic place settings such as the polar ice glacier or the old man’s cottage were cleverly used in Mary Shelley’s classic gothic novel Frankenstein. While ice glaciers and cliff side cottages are not traditional Gothic settings such as castles and ruins, Shelley’s use of them creates a gothic mood because of the images of isolation and loneliness that they create.
Elements that enhance the gothic mood:
Howling wind
Driving rain
Eerie sounds
Creaking doors
Approaching footsteps
Clanking chains
Lights going on and off
Doors slamming shut
Distant baying or howling
Crazed laughter 



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Rebecca

4/21/2014

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Rebecca is a novel by English author Daphne du Maurier. Since it was written in 1938, the book has never gone out of print. The novel is remembered for the character Mrs. Danvers, the fictional estate Manderley, and its opening lines.
‘Last night I dreamt I went to Manderley again... I came upon it suddenly; the approach masked by the unnatural growth of a vast shrub that spread in all directions... There was Manderley, our Manderley, secretive and silent as it had always been, the gray stone shining in the moonlight of my dream, the mullioned windows reflecting the green lawns and terrace. Time could not wreck the perfect symmetry of those walls, nor the site itself, a jewel in the hollow of a hand.’
With those famous opening lines du Maurier created one of the classic Gothic romances
Rebecca is written as a flashback. The heroine, who remains nameless, lives in Europe with her husband, Maxim de Winter, traveling from hotel to hotel, harbouring memories of a beautiful home called Manderley, which, we learn, has been destroyed by fire. The story begins with her memories of how she and Maxim first met, in Monte Carlo, years before.
As the story begins, the heroine is working as the traveling companion to a wealthy American named Mrs. Van Hopper and Maxim is staying at the same hotel. After knowing the heroine for only a few weeks, he proposes marriage. She accepts, they marry and he takes her back to his ancestral estate of Manderley. But a dark cloud hangs over their marriage. Maxim's first wife, Rebecca, drowned in a cove near Manderley the previous year, and her ghost haunts the newlyweds' home. Rebecca's devoted housekeeper, the sinister Mrs. Danvers, is still in charge of Manderley, and she frightens and intimidates her new mistress. Despite the encouragement of the house overseer, Frank Crawley, and Maxim's sister, Beatrice, the heroine struggles in her new life. She feels that she can never compare favourably to Rebecca, who was beautiful, talented, and brilliant. And she becomes convinced that Maxim is still in love with his dead wife.
Manderley traditionally hosts a costume ball each year, and it is soon time for the gala to take place. Swept up in the preparations, the heroine's spirits begin to revive. But the ball ends in disaster. On Mrs. Danvers's suggestion she wears a costume that turns out to be the same dress that Rebecca wore at the last ball. Upon seeing his wife, Maxim is horrified, and the heroine becomes convinced that he will never love her, that he is still devoted to Rebecca. The following day, Mrs. Danvers almost convinces her to kill herself, and she only breaks away from the old woman's spell when rockets go off over the cove, signalling that a ship has run aground. When divers swim near the grounded ship, they find the wreckage of Rebecca's sailboat, with Rebecca's body in the hold. This discovery prompts the uncovering of a series of secrets that lead to the book’s dramatic ending.
Laurence Olivier immortalised the moody figure of Maxim in Alfred Hitchcock’s Oscar-winning 1940 film and Joan Fontaine excelled as the naïve innocent caught in Mrs Danvers’s sights. The novel has repeatedly been adapted for stage and screen. There has even been Rebecca: The Musical, which had a three-year run in Vienna before moving to Japan, Germany, South Korea and Sweden.  


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Quaker City

4/20/2014

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George Lippard’s novel The Quaker City or, The Monks of Monk Hall—published in 1845 and selling over 60,000 copies in the first year alone—is a dark nightmare of a story.
The Quaker City is partly based on the March 1843 New Jersey trial of Singleton Mercer. Mercer was accused of the murder of Mahlon Hutchinson Heberton aboard the Philadelphia-Camden ferry vessel Dido on February 10, 1843. Mercer alleged that Heberton only five days before he shot him had lured his sixteen-year old sister into a brothel and raped her at gunpoint. He entered a plea of insanity and was found not guily. The trial took place only two months after Edgar Allan Poe's short story The Tell-Tale Heart, based on murder trials employing insanity as a defence. Mercer's defence attorney openly acknowledged the object of ridicule which an insanity defence had become. Nonetheless, a verdict of not-guilty was rendered and Mercer’s family were greeted by a cheering crowd while disembarking from the same Philadelphia-Camden ferry line on which the killing took place. Lippard employed the seduction aspect of the trial as a metaphor for the oppression of the helpless.
Devil-Bug, from Quaker City, is one of the most ferocious characters in American literature. He is a loathsome, dwarfish, one-eyed pimp with talon-like fingers, born in a brothel whose ‘soul was like his body, a mass of hideous and distorted energy’.
Excerpt (Devil-Bug speaking):
“It don’t skeer me, I tell ye! For six long years, day and night, it has laid by my side, with its jaw broke and its tongue stickin’ out, and yet I ain’t a bit skeered! There it is now—on my left side, ye mind—in the light of the fire. Ain’t it an ugly corpse? Hey? A reel nasty Christian, I tell ye! Jist look at the knees, drawed up to the chin, jist look at the eyes, hanging out on the cheeks, jist look at the jaw all smashed and broke—look at the big, black tongue, stickin’ from between the teeth—say it ain’t an ugly corpse, will ye?”
On July 12, 1849, a man appeared at the offices, in Philadelphia, of the Quaker City, a newspaper. He was despondent and wearing only one shoe, and was seeking his friend, the editor and writer George Lippard. When he found him he said, “You are my last hope. If you fail me, I can do nothing but die.” Less than two months later he would, in fact, be dead. The man’s name was Edgar Allan Poe.



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Edgar Allan Poe

4/18/2014

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'We loved with a love that was more than love.' 
Edgar Allan Poe 
Edgar Allan Poe was born on the 19th of January 1809 in Boston, Massachusetts. His short stories and poems captured the imagination and interest of readers around the world.
The son of actors, Poe never really knew his parents. His father left the family early on, and his mother passed away when he was only three. Separated from his siblings, Poe went to live with John and Frances Allan, a successful tobacco merchant and his wife, in Richmond, Virginia.
Poe published his first book, Tamerlane and Other Poems in 1827, and he joined the army around the same time. Poe wanted to go to West Point, a military academy, and won a place there in 1830. Before going to West Point, he published a second collection Al Aaraaf, Tamberlane, and Minor Poems in 1829. Poe excelled at his studies at West Point, but he was dismissed after a year. During his time at West Point, Poe argued with his foster father and Allan severed all ties with him.
After leaving the academy, Poe focused on his writing. He lived in New York City, Baltimore, Philadelphia and Richmond. From 1831 to 1835, he stayed in Baltimore with his aunt Maria Clemm and her daughter Virginia. Virginia became a literary inspiration to Poe as well as his love interest. The couple married in 1836 when she was 13 or 14 years old.
In the late 1830s, Poe published Tales of the Grotesque and Arabesque, a collection of stories. It contained several of his most spine-tingling tales, including The Fall of the House of Usher. Poe launched the new genre of detective fiction with 1841's The Murders in the Rue Morgue. A writer on the rise, he won a literary prize in 1843 for The Gold Bug, a tale of secret codes and hunting treasure.
Poe became a literary sensation in 1845 with the publication of the poem The Raven. It is considered a great American literary work and one of the best of Poe's career.
Poe was overcome by grief after the death of his beloved Virginia in 1847. While he continued to work, he suffered from poor health and struggled financially. His final days remain something of a mystery. He left Richmond on September 27, 1849, supposedly on his way to Philadelphia. On October 3, Poe was found in Baltimore in great distress. He was taken to Washington College Hospital where he died on October 7. His last words were "Lord, help my poor soul".
At the time, it was said that Poe died of ‘congestion of the brain’. But his actual cause of death has been the subject of endless speculation. Some experts believe that alcoholism led to his demise while others offer up alternative theories. Rabies, epilepsy, carbon monoxide poisoning are just some of the conditions thought to have led to the great writer's death.
While he never had financial success in his lifetime, Poe has become one of America's most enduring writers. A bright, imaginative thinker, Poe crafted stories and poems that still shock, surprise and move modern readers.



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The Castle of Otranto

4/17/2014

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The first ever gothic novel, Horace Walpole’s The Castle of Otranto marked the beginnings of a genre that is still popular today.
Horace Walpole was a politician and a man of letters. His house in Twickenham began a revival in gothic architecture, and the publication of The Castle of Otranto in 1764 sparked the vogue for gothic romance in English literature.
The preface to the first edition of the novel, published under a pseudonym, stated that it was a translation of a 16th-century Italian manuscript recounting a story dating back to the Crusades. As a literary hoax it was a huge success.
The novel begins with the impending marriage of Conrad, son the lord of the Castle Otranto, to Isabella. On the day of the marriage, Conrad is mysteriously killed by a helmet that falls from the sky and crushes his skull. Remembering a curse on the inhabitants of the Castle of Otranto that, should they become too proud, they will be replaced by another family, Conrad’s father Manfred panics. He sends his wife, Hippolita, to a convent and decides he will marry Isabella himself and attempt to continue his line.
Aided by a noble peasant, Theodore, Isabella escapes to Friar Jerome who gives her sanctuary. Infuriated at her attempt to thwart him, Manfred sets out to get Isabella back. He finds Theodore and sentences him to death. Jerome realizes that Theodore is his son and begs Manfred to spare his life. Manfred makes the deal that if Jerome gives Isabella up, Theodore can live.
A group of knights arrive on the scene and chaos ensues as the knights are enlisted to help save Isabella from Manfred. Theodore is locked in a tower by Manfred before he can help find Isabella.
Locked in the tower, helpless, Theodore has lost hope, but he is saved by Matilda, Manfred’s daughter. After Matilda releases him, Theodore joins the race to find Isabella and manages to reach her first. A fight ensues during which Theodore wounds one of the knights, who turns out to be Isabella’s father, Frederic.
Everyone gathers back at the castle of Otranto. Frederic falls for Matilda and he and Manfred discuss each marrying the other’s daughter. Manfred suspects that there is a romance between Theodore and Isabella. Going to the chapel to expose them, he takes a dagger and, in a jealous rage, he stabs Matilda, mistaking her for Isabella.
Soon afterwards, it is revealed that Theodore is the true Prince of Otranto. While Manfred wallows in self-pity, shame, and despair at the slaughtering of his own daughter, Theodore and Isabella marry.
Walpole famously declared that ‘the world is a tragedy to those who feel, but a comedy to those who think’. The Castle of Otranto established both the stock characters of the gothic genre (evil tyrant, virtuous maiden, noble hero) and its themes (the supernatural, incest, mistaken identities). By turns lurid, sensational and amusing, it remains a powerful and imaginative tour de force.



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Northanger Abbey

4/16/2014

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‘But when a young lady is to be a heroine, the perverseness of forty surrounding families cannot prevent her. Something must and will happen to throw a hero in her way.’
Jane Austen, Northanger Abbey
Jane Austen began writing her first book at the age of 23. This book was Northanger Abbey, a parody of the Gothic genre, which had steadily been gaining popularity since its inception in 1764 with the publication of Horace Walpole’s The Castle of Otranto.
Northanger Abbey is sometimes mistakenly labelled a gothic romance, but it is, in fact, a gothic parody because, in it, Jane Austen satirises the conventions of the gothic novels that were popular during the time. In particular, Austen is said to have targeted Anne Radcliffe, the author of gothic novels such as A Sicilian Romance (1790), The Romance of the Forest (1791), and The Mysteries of Udolpho (1794). Catherine reads Udolpho during her time at Bath, and it is implied that she has read similar novels before. Isabella has a whole library of gothic novels that the women plan to read together once Catherine has finished Udolpho.
Gothic novels and their conventions are a recurring theme throughout the novel. On the ride from Bath to Northanger Abbey, Henry invents a humorous hypothetical story about Catherine's first night in Bath, making subtle references to several different gothic novels, most of which were well-known at the time.
Two other sequences in the book poke fun at the genre. In one, Catherine unlocks a mysterious cabinet, expecting it to contain something horrible, only to find laundry bills. In another, Catherine imagines that the General is a wife-murderer and goes to investigate the late Mrs Tilney's bedroom. When Henry catches her at this task and scolds her, it is not as amusing as Catherine's discovery of the laundry bills. Catherine is terribly embarrassed in front of Henry. In the scenes leading up to this confrontation, it is almost disturbing to read of Catherine's paranoid assumptions that everything the General does stems from a guilty conscience. Catherine becomes almost unhinged by her own imagination. Although the actual crime turns out to be non-existent, Austen captures some of the psychological tension typical of gothic novels by chronicling Catherine's delusional state. So, although she parodies the gothic genre, Austen also makes clever use of some of its techniques. 



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Mary Shelley

4/15/2014

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Mary Wollstonecraft Godwin was born on August 30, 1797, in London. She was the daughter of philosopher and political writer William Godwin and famed feminist Mary Wollstonecraft, author of The Vindication of the Rights of Woman (1792). Her mother died shortly after her birth. Her father William Godwin was left to care for Mary and her older half-sister Fanny Imlay, who was Wollstonecraft's daughter from an affair she had with a soldier.
The household had a number of distinguished guests during Mary's childhood, including Samuel Taylor Coleridge and William Wordsworth. While she didn't have a formal education, she made great use of her father's extensive library. She could often be found reading, sometimes by her mother's grave.
Mary also found a creative outlet in writing. According to The Life and Letters of Mary Wollstonecraft, she said: "As a child, I scribbled; and my favourite pastime, during the hours given me for recreation, was to 'write stories.'"
In 1814, Mary began a relationship with poet Percy Bysshe Shelley, a student of her father. He was still married to his first wife when he and teenager, Mary, fled England together that same year. Mary's actions alienated her from her father who refused to speak to her.
Mary and Shelley travelled about Europe. They struggled financially and faced the loss of their first child in 1815 when Mary gave birth to a baby girl who only lived for a few days. The following summer, the Shelleys were in Switzerland with Jane Clairmont, Lord Byron and John Polidori. The group entertained themselves one rainy day by reading a book of ghost stories. Byron suggested that they all should try their hand at writing their own horror story. It was at this time that Mary Shelley began work on what would become her most famous novel, Frankenstein, or the Modern Prometheus.
Later that year, Mary suffered the loss of her half-sister Fanny, who committed suicide. Another suicide, this time of Shelley's wife, occurred a short time later. Mary and Shelley were finally married on December 1816. In 1818, Frankenstein, or the Modern Prometheus debuted as a new novel from an anonymous author. Many thought that Percy Bysshe Shelley had written it since he penned its introduction. The book proved to be a huge success. That same year, the Shelleys moved to Italy.
While Mary seemed devoted to her husband, she did not have the easiest marriage. Their union was riddled with adultery and heartache, including the death of two more of their children. Born in 1819, their son, Percy Florence, was the only child to live to adulthood. Mary's life was rocked by another tragedy in 1822 when her husband drowned while out sailing with a friend in the Gulf of Spezia.
Widowed at the age of 24, Mary Shelley worked hard to support herself and her son. She wrote several more novels, including Valperga and the science fiction tale The Last Man (1826). She also devoted herself to promoting her husband's poetry and preserving his place in literary history.
Mary Shelley died of brain cancer on February 1, 1851 in London. She was buried at St. Peter's Church in Bournemouth, alongside her father and mother and with the cremated remains of her late husband's heart.



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John Keats, ‘La Belle Dame sans Merci’ 

4/13/2014

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Keats (1795 - 1821) is now regarded as one of the major poetic figures of the British Romantic period. In his own lifetime, however, his poetry was neither particularly well-regarded nor popular.
This poem was written in 1819 and published in revised form in May 1820. Below is the original version, which is the one preferred by Keats scholars.

La Belle Dame sans Merci
Oh what can ail thee, knight-at-arms,
Alone and palely loitering?
The sedge has withered from the lake,
And no birds sing.

Oh what can ail thee, knight-at-arms,
So haggard and so woe-begone?
The squirrel's granary is full,
And the harvest's done.

I see a lily on thy brow,
With anguish moist and fever-dew,
And on thy cheeks a fading rose
Fast withereth too.

I met a lady in the meads,
Full beautiful - a faery's child,
Her hair was long, her foot was light,
And her eyes were wild.

I made a garland for her head,
And bracelets too, and fragrant zone;
She looked at me as she did love,
And made sweet moan.

I set her on my pacing steed,
And nothing else saw all day long,
For sidelong would she bend, and sing
A faery's song.

She found me roots of relish sweet,
And honey wild, and manna-dew,
And sure in language strange she said -
'I love thee true'.

She took me to her elfin grot,
And there she wept and sighed full sore,
And there I shut her wild wild eyes
With kisses four.

And there she lulled me asleep
And there I dreamed - Ah! woe betide! -
The latest dream I ever dreamt  
On the cold hill side. 

I saw pale kings and princes too,
Pale warriors, death-pale were they all;
They cried - 'La Belle Dame sans Merci
Hath thee in thrall!'

I saw their starved lips in the gloam,
With horrid warning gaped wide,
And I awoke and found me here,
On the cold hill's side.

And this is why I sojourn here
Alone and palely loitering,
Though the sedge is withered from the lake,
And no birds sing. 

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The Italian by Ann Radcliffe

4/10/2014

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The Italian, or the Confessional of the Black Penitents (1797) is a novel in the gothic genre, written by the English author Ann Radcliffe. The events are set in 1764, thirty-three years before the novel's publication. It is the last book Radcliffe published during her lifetime (although she did go on to produce the novel Gaston de Blondeville, which appeared posthumously in 1826). The Italian has a dark, mysterious and sombre atmosphere, and concerns the themes of love, devotion and persecution by the Holy Inquisition. It also deals with issues prevalent at the time of the French Revolution, such as religion, aristocracy and nationality. Radcliffe's renowned use of veil imagery is considered to have reached its height of sophistication and complexity in The Italian. Concealment and disguise are central themes of the novel.
The story is set in the 18th century Italy, where a young nobleman of Naples, Vincentio di Vivaldi, meets a beautiful damsel Ellena Rosalba, with whom he falls in love and whom he intends to marry. Vincentio's mother, the Marchesa, is against the match and, goaded by a mysterious monk named Schedoni, has Ellena kidnapped. Vincentio nearly marries Ellena, but both are arrested and separated by Schedoni's subordinates before the nuptial ceremony is completed. Schedoni then attempts to assassinate the girl, but suddenly discovers that she is in fact his own daughter. Schedoni's plans change radically and he hides Ellena in a safe place. Meanwhile, Vincentio, transported into a prison of Inquisition, struggles to disprove false charges against him. Schedoni appears at the trial, and after several unexpected revelations Vincentio is acquitted. Following a complex twist in the plot, Ellena is revealed to be Schedoni's niece, rather than his daughter. Her real father, Schedoni's brother is dead. It turns out that Schedoni descends from an old and noble family, and therefore Ellena becomes an eligible match for Vincentio. The novel ends with a happy marriage between the two, and the villains—the Marchesa, Schedoni, Spalatro, and Nicola—all die.
Excerpt:
The carriage having reached the walls, followed their bendings to a considerable extent. These walls, of immense height, and strengthened by innumerable massy bulwarks, exhibited neither window or grate, but a vast and dreary blank; a small round tower only, perched here and there upon the summit, breaking their monotony.
The prisoners passed what seemed to be the principal entrance, from the grandeur of its portal, and the gigantic loftiness of the towers that rose over it; and soon after the carriage stopped at an arch-way in the walls, strongly barricadoed. one of the escort alighted, and, having struck upon the bars, a folding door within was immediately opened, and a man bearing a torch appeared behind the barricado, whose countenance, as he looked through it, might have been copied for the 'Grim-visaged comfortless Despair of the poet.
No words were exchanged between him and the guard; but on perceiving who were without, he opened the iron gate, and the prisoners, having alighted, passed with the two officials beneath the arch, the guard following with a torch. They descended a flight of broad steps, at the foot of which another iron gate admitted them to a kind of hall; such, however, it at first appeared to Vivaldi, as his eyes glanced through its gloomy extent, imperfectly ascertaining it by the lamp, which hung from the centre of the roof. No person appeared, and a death-like silence prevailed; for neither the officials nor the guard yet spoke; nor did any distant sound contradict the notion, that they were traversing the chambers of the dead. To Vivaldi it occurred, that this was one of the burial vaults of the victims, who suffered in the Inquisition, and his whole frame thrilled with horror. Several avenues, opening from the apartment, seemed to lead to distant quarters of this immense fabric, but still no footstep whispering along the pavement, or voice murmuring through the arched roofs, indicated it to be the residence of the living.



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Victoria Holt

4/9/2014

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Victoria Holt was one of the many pseudonyms of Eleanor Alice Burford Hibbert.  She also wrote as Jean Plaidy and Philippa Carr.
Eleanor Hibbert was born in London in 1906. Her first book, Daughter of Anna, was published in 1941. She went on to publish twenty-nine more novels as Eleanor Burford over the next two decades, all were romances featuring youthful protagonists and bearing titles like Passionate Witness (1941) and The House at Cupid’s Cross (1949).
But it was the pseudonyms she adopted later that were to win her international fame. In 1945, she began writing as Jean Plaidy, a name she borrowed from a Cornish beach. During the 1950s and 60s, she was Britain’s most popular historical novelist, publishing ninety books under that name. The last one in 1994 was published posthumously. She wrote compelling stories of the lives of such figures as Catherine de Medici, Katherine of Aragon, Isabella of Spain and Lucrezia Borgia. I read and loved every single one of them! The one I have read most and which made the most impact of me was The Princess of Celle, the story of tragic Sophia Dorothea.  
As Elbur Ford, she wrote four novels (1950-1954) based on infamous murderers of the 19th century. As Kathleen Kellow, she wrote another eight novels between 1952 and 1960. Several of the latter were also mysteries. She also wrote one book as Anna Percival and five as Ellalice Tate.
It was in 1960 that she first used the name Victoria Holt. Her first book under this pseudonym was the gothic classic, Mistress of Mellyn. It featured the heroine, a young governess, Martha Leigh, a powerful, enigmatic hero, Con TreMellyn, a haunted mansion and a heady mix of scandal, misunderstanding and betrayal. Rumour abounded that the book had actually been written by Daphne du Maurier.
Other titles by Victoria Holt included Kirkland Revels (1962) with ghosts, mysterious abbey, and innocent heroine in jeopardy and Menfreya in the Morning (1966), reminiscent of du Maurier’s Rebecca. All of the traditional gothic elements were included, but the books still possessed a story-telling power that made Holt’s work superior to the multitude who attempted to imitate her.
Hibbert also wrote as Philippa Carr. These were family sagas rather than romances. The Daughters of England series began with The Miracle at St. Bruno’s (1972), a sixteenth-century saga that featured Henry VIII, Anne Boleyn, and Sir Thomas More and ended with We’ll Meet Again (1993), set against the backdrop of the end of World War II.
Hibbert’s pace of writing was phenomenal. She wrote for five hours a day, seven days a week, usually completing five thousand words by lunchtime. Her afternoons were devoted to answering the letters she received from fans. She even took her typewriter with her on her annual winter cruises so that she could continue working.
She died at the age of 87 on board a cruise ship, the Sea Princess, between Athens and Port Said, Egypt. She had sold more than 100 million copies of her two hundred books written over a career that spanned more than half a century. She wrote Gothic romance, historical fiction, mystery, children’s books, and non-fiction. Her advice to writers is as sound today as it was when she gave it decades ago. ‘Never regret. If it's good, it's wonderful. If it's bad, it's experience’.




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Gothic Romance - Isn't it just a ghost story?

4/8/2014

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What are the features of gothic romance that make it unique, and make it stand out from other genre? Gothic romances are love stories with a dash of horror! Romances that scare the life out of you!  And Harlequin Shivers are the ‘new’ gothics. They have elements of the unexplained, but they are not paranormal romances. Generally, the heroine and heroine are human beings who may have paranormal experiences. Shivers have high levels of sensuality, but their strong gothic story line makes them much more than an erotic romance. Some of the features of the gothic genre are:
The Setting
This is the most important part of the planning process for a writer of gothic novels. Poetic, gloomy and atmospheric, the setting is another character. It is often a remote building, possibly of medieval origin, for example a castle, abbey or crumbling manor house.
Think wild mysterious landscapes-bleak moors, hard to reach islands or deep, inaccessible valleys.
Enclosed or claustrophobic spaces are also symbolic in gothic writing-crypts, passageways, caves, dungeons, secret rooms, dark towers, cloisters... 
The Male Protagonist
  • May have inherited powers or status-so he might be titled or talented
  • May be solitary or egocentric
  • Is likely to be a flawed personality
  • May be obsessive
  • We may get a sense of duality, or even that there is a doppleganger
  • He  may attract yet repulse,  and the sensual elements can be overt or implied
The Female Protagonist
Our heroine has grown up since the days of Jane Eyre! Traditionally, she was a trembling victim, frail, passive and naïve, who was subjected to grotesque acts by a superior will.
Now, however, she is likely to be strong and feisty. She may well have many of the same characteristics as the male protagonist. And she will fight back! 
Gothic Themes
  • Crossing boundaries-natural/supernatural, barbaric/civilised, mortal/immortal, pleasure/pain
  • Evokes fear and tension in the reader
  • Dark secrets and forbidden knowledge
  • Superstitions-curses, angels, demons, vampires, witches etc.
  • Dreams and nightmares reveal unconscious mind
  • Omens and portents
  • Symbolism
You know when you watch a scary film (usually through your fingers) and that character who is alone in the house goes into the attic (or maybe the cellar) to find out what the unexplained noises are? That’s why I write gothics.
When we see those scenes in films, or read them in books, we usually switch all the lights on before we sigh with relief and say, “You wouldn’t do that in real life. You’d run screaming out of the door.” But we still love to watch or read those scenes…because they give us shivers. 



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Joseph Sheridan Le Fanu

4/6/2014

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Joseph Sheridan Le Fanu was an Irish journalist and writer, credited with being the ‘father of the Victorian ghost story’. While he is best known for his novel about the ‘venerable, bloodless, fiery-eyed’ Uncle Silas it was his vampire novella Carmilla that defined his work and influenced Bram Stoker in his writing of Dracula.
Le Fanu was born in 1814 to noble Huguenot parents Thomas Philip Le Fanu, a clergyman, and Emma Lucretia Dobbin. In 1833 he entered Trinity College, Dublin to study law, graduating in 1839. He was called to the bar but never practiced, instead embarking on a career in journalism. In 1838 Le Fanu's first story The Ghost and the Bonesetter was published in the Dublin University Magazine, which he was to become proprietor and editor of in 1861.
In 1844 Le Fanu married Susanna Bennett with whom he had 4 children. Sir Walter Scott was to influence his first novel The C'ock and Anchor (1845). His second novel The Fortunes of Colonel Torlogh O'Brien was published in 1847. In 1851 Le Fanu and Susanna moved to their house on Merrion Square, Dublin, where he lived until his death in 1873.
Excerpt from Carmilla (1872): ‘I saw a solemn, but very pretty face looking at me from the side of the bed. It was that of a young lady who was kneeling, with her hands under the coverlet. I looked at her with a kind of pleased wonder, and ceased whimpering. She caressed me with her hands, and lay down beside me on the bed, and drew me towards her, smiling; I felt immediately delightfully soothed, and fell asleep again. I was wakened by a sensation as if two needles ran into my breast very deep at the same moment, and I cried loudly. The lady started back, with her eyes fixed on me, and then slipped down upon the floor, and, as I thought, hid herself under the bed.’



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Daphne du Maurier

4/4/2014

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Born on the 13th May 1907 Daphne du Maurier was the second daughter of Sir Gerald du Maurier and the granddaughter of George du Maurier. She grew up in London with her sisters Angela and Jeanne and was educated at home by her governess. She had a close relationship with her father and it was he who encouraged her when she began writing stories and poetry at an early age.
The du Mauriers visited Cornwall for holidays throughout Daphne's childhood, but it was not until 1926 that the family decided to look for a second home there. Arriving in Bodinnick-by-Fowey from Looe, Daphne, her mother and her two sisters discovered Ferryside, the house that was to become their home.
Daphne loved Cornwall and spent time at Ferryside whenever she could, it was there that she wrote her first novel The Loving Spirit.
It was this book that was to introduce Daphne to her future husband. Major Tommy ('Boy') Browning was so affected by the book that he sailed to Fowey to meet the author. They fell in love and in July 1932 were married at Lanteglos Church.
During the first ten years of their marriage Daphne only spent holidays in Cornwall but in 1943 while her husband was at war she rented a house in Fowey called Readymoney and lived there with her three children.
Years before whilst out walking she first discovered Menabilly, a house belonging to the Rashleigh family. She was fascinated by the place and now she was living in Cornwall she asked the family if she could rent the property. They agreed and in 1943 she moved into the house which was to provide inspiration for much of her writing.
When the lease on Menabilly expired in 1969 she moved to another house rented to her by the Rashleigh family, Kilmarth about a mile from Menabilly. By now Daphne had lived in Cornwall for nearly thirty years and it was by continuing her writing she was able to overcome her disappointment that her husband, who died in 1965, was not with her in her last home.
Dame Daphne du Maurier died on the 19th April 1989. Throughout her lifetime she wrote several novels and volumes of short stories, five biographies and her own autobiography. The place Cornwall held in her heart and the inspiration it provided was captured in many of her books.


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Charlotte Brontë    

4/3/2014

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Charlotte Brontë was born in 1816, the third daughter of the Reverend Patrick Brontë and his wife Maria. Her brother Patrick Branwell was born in 1817, and her sisters Emily and Anne in 1818 and 1820. In the same year the Brontë family moved to Haworth. Mrs. Brontë died the following year.
In 1824 the four eldest Brontë daughters were enrolled as pupils at the Clergy Daughter's School at Cowan Bridge. The following year Maria and Elizabeth, the two eldest daughters, became ill, left the school and died. Charlotte and Emily, understandably, were brought home.
In 1826 Mr. Brontë brought home a box of wooden soldiers for Branwell to play with. Charlotte, Emily, Branwell, and Ann, playing with the soldiers, conceived of and began to write in great detail about, an imaginary world which they called Angria.
In 1831 Charlotte became a pupil at the school at Roe Head, but she left the following year to teach her sisters at home. She worked as a governess and attempted, with her sisters to open a school. This venture proved unsuccessful.
In 1846 Charlotte decided to publish a selection of the poems of all three sisters under the pseudonyms of Currer, Ellis and Acton Bell. Charlotte also completed The Professor, which was rejected for publication. The following year, however, Charlotte's Jane Eyre, Emily's Wuthering Heights, and Ann's Agnes Grey were all published, still under the Bell pseudonyms.
In 1848 Charlotte and Ann visited their publishers in London, and revealed the true identities of the ‘Bells’. In the same year Branwell Brontë, by now an alcoholic and a drug addict, died, and Emily died shortly thereafter. Ann died the following year.
In 1849 Charlotte went to London and began to move in literary circles, making the acquaintance of Thackeray and others. In 1850 Charlotte edited her sister's works, and met Mrs. Gaskell. In 1851she visited the Great Exhibition in London, and attended a series of lectures given by Thackeray.
Charlotte became engaged to Mr Nicholls , the curate at Haworth, and they were married soon after. In 1854 Charlotte, expecting a child, caught pneumonia and died, probably of dehydration.
In 1857 The Professor, which had been written in 1845-46, was published posthumously and Mrs. Gaskell's Life of Charlotte Brontë was published.



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