These stories, in all their narrative voicings, deal with sorrow and still seek to find life’s joys. Despite conflicts, contradictions, sacrifices, surprises and ironies, the haunted and hunted characters try to comprehend death in detail. In so doing, the human spirit rises up and triumphs against the incomprehensible and bewildering aspects of life, love and death.

First love and other stories by Ivan Sergeevich Turgenev: In this collection of short stories, Turgenev explores the myriad facets of human experience and emotion. From the bittersweet romance of "First Love" to the poignant coming-of-age tale "Asya," these stories are full of insight and resonance, revealing the complexities of the human heart. Key Aspects of the Book "First love and other stories": Short Stories: Turgenev's book is a collection of short stories, showcasing his skills as a writer of diverse and engaging tales. Emotional Resonance: The stories are full of depth and nuance, revealing the many dimensions of love, loss, and longing that define the human condition. Character Development: Despite the brevity of the stories, Turgenev's characters are complex and fully realized, providing a rich and multi-layered reading experience. Ivan Sergeevich Turgenev was a Russian writer and thinker known for his insightful and sensitive portrayals of daily life in 19th-century Russia. Born in 1818, he wrote many classic works of literature, including A Nobleman's Nest and Virgin Soil. His works continue to be read and appreciated around the world for their deep emotional resonance and psychological insight.

Examining the automatic writing of the spiritualist séances, discursive technologies like the telegraph and the photograph, various genres and late nineteenth-century mental science, this book shows the failure of writers' attempts to use technology as a way of translating the supernatural at the fin de siècle. Hilary Grimes shows that both new technology and explorations into the ghostly aspects of the mind made agency problematic. When notions of agency are suspended, Grimes argues, authorship itself becomes uncanny. Grimes's study is distinct in both recognizing and crossing strict boundaries to suggest that Gothic literature itself resists categorization, not only between literary periods, but also between genres. Treating a wide range of authors - Henry James, Rudyard Kipling, Arthur Conan Doyle, George Du Maurier, Vernon Lee, Mary Louisa Molesworth, Sarah Grand, and George Paston - Grimes shows how fin-de-siècle works negotiate themes associated with the Victorian and Modernist periods such as psychical research, mass marketing, and new technologies. With particular attention to texts that are not placed within the Gothic genre, but which nevertheless conceal Gothic themes, The Late Victorian Gothic demonstrates that the end of the nineteenth century produced a Gothicism specific to the period.

"Emilia Dilke" (1840-1904) was christened Emily Francis Strong and known by her middle name throughout her childhood as the daughter of an army officer-cum-bank manager in Iffley, England, near Oxford, and her days as an art student in London. During her first marriage, she was Francis Pattison or Mrs. Mark Pattison, while her published works of art history and criticism were neutrally signed E. F. S. Pattison. Later, in the 1870s, she privately changed her first name to Emilia, a switch made public when she remarried in 1885. By this second nuptial union she became Lady Dilke, the famous intellectual, feminist, art critic, author, and, eventually, the active and popular President of the Women's Trade Union League for nearly twenty years. A rich work of biography, literary criticism, aesthetic history, and sociocultural inquiry, Names and Stories traces the life of this fascinating and remarkable woman as it was lived under many different appellations and guises. In doing so, the book investigates the full spectrum of nineteenth-century British thought and custom. By studying not only an individual life but the many stories that informed, determined, and challenged that life, author Kali Israel considers Dilke as both subject and object--author and character, player and pawn--in the Victorian world of which she was a part. As they are chronicled, explained, and contextualized in this book, these stories--however they were created, told, or interpreted--move through realms both historical and fictional. Israel's central character experienced not one but two highly visible marriages marked by rampant gossip, high-profile sex scandals, and inconclusive courtroom battles; was considered by some to be the model for the character of Dorothea in Eliot's Middlemarch; and similarly "appeared" in many other novels, plays, and even poems in her own time and up through the mid-twentieth century. Names and Stories is not a conventional "life and times" book, even though it recounts a birth-to-death adventure that is both unique and epochal. Rather, the work utilizes Dilke's myriad narratives as the means to broader critical, historical, and theoretical engagements. Debating the very nature of life-study and biography-writing, Israel employs a wide array of published and primary sources to argue that the "names and stories" of Emilia Dilke can help us understand key conflicts and tensions within Victorian Britain, as well as ongoing cultural arguments. This book thus examines several nineteenth-century pressure-points in this light, among them gender, representation, authority, authorship, knowledge, and political thought. Israel's contemporary and cross-disciplinary study also illuminates such broader themes as the family, the body, narrative, figuration, and historical writing and reading.

Science Fiction and Fantasy Literature, A Checklist, 1700-1974, Volume one of Two, contains an Author Index, Title Index, Series Index, Awards Index, and the Ace and Belmont Doubles Index.

A darkly luminous new anthology collecting the most terrifying horror stories by renowned female authors, presenting anew these forgotten classics to the modern reader. Readers are well aware that Mary Shelley wrote Frankenstein: few know how many other tales of terror she created. In addition to Uncle Tom’s Cabin, Harriet Beecher Stowe wrote some surprisingly effective horror stories. The year after Little Women appeared, Louisa May Alcott published one of the first mummy tales. These ladies weren’t alone. From the earliest days of Gothic and horror fiction, women were exploring the frontiers of fear, dreaming dark dreams that will still keep you up at night. More Deadly than the Male includes unexpected horror tales by Louisa May Alcott and Harriet Beecher Stowe, and forgotten writers like Mary Cholmondely and Charlotte Riddell, whose work deserves a modern audience. Readers will be drawn in by the familiar names and intrigued by their rare stories. In The Beckside Boggle, Alice Rea brings a common piece of English folklore to hair-raising life, while Helene Blavatsky, best known as the founder of the spiritualist Theosophical Society, conjures up a solid and satisfying ghost story in The Cave of the Echoes. Edith Wharton’s great novel The Age of Innocence won her the Pulitzer prize, yet her horror stories are known only to a comparative few. Readers will discover lost and forgotten women who wrote horror every bit as effectively as their male contemporaries. They will learn about their lives and careers, the challenges they faced as women working in a male-dominated field, the way they overcame those challenges, and the way they approached the genre—which was often subtler, more psychological, and more disturbing.